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 Oman and from Accra.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1964 to 1976.
I'm losing my edge.
To all the kids in Mexico City and Beijing.
I'm losing my edge to the art-school Calgary 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 marimba sounds with much patience.
I was there when Lou Reed 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 Neil Young to the dance kids.
I played it at Cafe Wha.
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 Ice-T. All the underground hits.
All The Remains tracks. I heard you have a vinyl of every John Cale 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 '90s.
I hear you're buying a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a K-Klass record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Parrish,
Blake Baxter,
Bootsy's Rubber Band,
Anthony Braxton,
Skaos,
The Electric Prunes,
the Bar-Kays,
the Fania All-Stars,
Electric Prunes,
The Tremeloes,
Sandy B,
The Gun Club,
Magma,
Wolf Eyes,
Kevin Saunderson,
Dual Sessions,
Hashim,
Marc Romboy vs. Booka Shade,
Bill Near,
Alison Limerick,
Mars,
Infiniti,
Don Cherry,
This Heat,
Justin Hinds & The Dominoes,
Public Enemy,
The Victims,
Goldenarms,
June Days,
Lightning Bolt,
Rakim,
Y Pants,
Barrington Levy,
Siglo XX,
Nas,
The Grass Roots,
Fat Boys,
Ornette Coleman,
Lower 48,
Pantaleimon,
Derrick Morgan,
KRS-One,
The Fuzztones,
Bizarre Inc.,
Deutsch Amerikanische Freundschaft,
Electric Light Orchestra,
Tears for Fears,
Marshall Jefferson,
The Kinks,
Lalann,
Fear,
Main Source,
Wire,
Panda Bear,
Ten City,
Glambeats Corp.,
kango's stein massive,
The Blues Magoos,
Pete Rock & C.L. Smooth,
Rufus Thomas,
Andrew Ashong & Theo Parrish,
The Remains,
Ohio Players, Ohio Players, Ohio Players, Ohio Players.
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.