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 Russia and from Toronto.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1979.
I'm losing my edge.
To all the kids in Shanghai and Delhi.
I'm losing my edge to the art-school Johannesburg 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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 U.S. Maple to the disco kids.
I played it at Trash.
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 Grandmaster Flash and the Furious Five. All the underground hits.
All Pierre Henry tracks. I heard you have a vinyl of every Altered Images record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Unwound record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeff Mills,
Malaria!,
Red Lorry Yellow Lorry,
World's Most,
The Motions,
The Gap Band,
Kayak,
Bill Near,
The Walker Brothers,
The Kinks,
Pete Rock & C.L. Smooth,
Wings,
Schoolly D,
London Community Gospel Choir,
Davy DMX,
Barrington Levy,
Public Image Ltd.,
Alison Limerick,
The Sonics,
Roxy Music,
Youth Brigade,
Rapeman,
Big Daddy Kane,
Marmalade,
the Swans,
The Happenings,
Alton Ellis,
The Real Kids,
Sam Rivers,
These Immortal Souls,
Reuben Wilson,
cv313,
Electric Light Orchestra,
Johnny Clarke,
Lou Reed,
Fad Gadget,
Danielle Patucci,
A Certain Ratio,
The Velvet Underground,
Eric Copeland,
Lonnie Liston Smith,
David Axelrod,
Agitation Free,
Art Ensemble Of Chicago,
Ice-T,
Howard Jones,
Ituana,
Liliput,
Pharaoh Sanders and the Fire Engines,
Fatback Band,
Neu!,
Mad Mike,
Bill Wells,
Television,
Gang Gang Dance,
Blake Baxter,
Soulsonic Force,
Rahsaan Roland Kirk,
Young Marble Giants,
the Bar-Kays,
Kas Product, Kas Product, Kas Product, Kas Product.
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.