Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Eritrea and from Manchester.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1960 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Lille.
I'm losing my edge to the art-school Lyon kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1971 at the first Selda practice in a loft in Istanbul.
I was working on the guitar sounds with much patience.
I was there when Michael McDonald started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Gil Scott Heron to the dance kids.
I played it at the Crocodile.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Man Parrish. All the underground hits.
All R.M.O. tracks. I heard you have a vinyl of every Howard Jones record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Remains,
Laurel Aitken,
Bobby Womack,
Magazine,
Sound Behaviour,
The Grass Roots,
the Fania All-Stars,
The Durutti Column,
Oneida,
Charles Mingus,
EPMD,
Rhythm & Sound,
Groovy Waters,
Lightning Bolt,
Avey Tare & Kría Brekkan,
The Shadows of Knight,
Masters at Work,
Rowland S Howard / Lydia Lunch,
Strawberry Alarm Clock,
Don Cherry,
Bob Dylan,
The Kinks,
Neil Young,
The Star Department,
Yusef Lateef,
Joe Smooth,
Jandek,
Hot Snakes,
Scott Walker + Sunn O))),
Angels of Light & Akron/Family,
Rod Modell,
Dawn Penn,
Derrick May,
Agitation Free,
Matthew Bourne,
Buzzcocks,
Suicide,
Electric Light Orchestra,
X-102,
Mandrill,
Liliput,
The Selecter,
Jeff Lynne,
Slave,
Aural Exciters,
Procol Harum,
Von Mondo,
Art Ensemble Of Chicago,
Alphaville,
World's Most,
Index,
Peter Gordon & Love of Life Orchestra,
Mantronix,
Arcadia,
Howard Jones,
Bush Tetras,
The Names,
Neu!,
Harry Pussy,
Boz Scaggs,
Orchestral Manoeuvres in the Dark,
Saccharine Trust, Saccharine Trust, Saccharine Trust, Saccharine Trust.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.