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 Tonga and from Madrid.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Philadelphia.
I'm losing my edge to the art-school Manila 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 oboe 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 David Axelrod to the jazz kids.
I played it at the 40 Watt.
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 Gang Starr. All the underground hits.
All Kevin Saunderson tracks. I heard you have a vinyl of every This Heat record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your sitar and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gap Band,
Eric Copeland,
The Martian,
Neu!,
Big Daddy Kane,
Colin Newman,
Ronan,
Bang On A Can,
Index,
Lee Hazlewood,
Henry Cow,
The West Coast Pop Art Experimental Band,
Patti Smith,
Todd Terry,
The Golliwogs,
Morten Harket,
Procol Harum,
The Human League,
Gabor Szabo,
Archie Shepp,
The Dirtbombs,
Chrome,
The Stooges,
Pussy Galore,
Delon & Dalcan,
Gil Scott-Heron and Jamie xx,
Thompson Twins,
Mr. Review,
Eve St. Jones,
Junior Murvin,
Fatback Band,
Marc Romboy vs. Booka Shade,
Yaz,
Bobbi Humphrey,
Motorama,
Joyce Sims,
The Jesus and Mary Chain,
Dual Sessions,
Roxy Music,
Nas,
Robert Wyatt,
Boz Scaggs,
U.S. Maple,
Bootsy's Rubber Band,
Louis and Bebe Barron,
Kings Of Tomorrow,
Jacob Miller,
the Fania All-Stars,
Barry Ungar,
Man Parrish,
Pantytec,
Rakim,
Royal Trux,
Lonnie Liston Smith,
Ossler,
Cal Tjader,
Bob Dylan,
Quando Quango,
Major Organ And The Adding Machine,
Ultra Naté,
Visage,
Supertramp,
Main Source, Main Source, Main Source, Main Source.
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.