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 Georgia and from Beijing.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Woodstock and Madrid.
I'm losing my edge to the art-school Spokane 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 güiro 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 Stockholm Monsters to the jazz 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 London Community Gospel Choir. All the underground hits.
All Bobby Sherman tracks. I heard you have a vinyl of every The Fall record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a DJ Sneak record.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tom Boy,
Gastr Del Sol,
Super Lover Cee & Casanova Rud,
Brothers Johnson,
The Associates,
James Chance & The Contortions,
Little Man,
Amazonics,
Nik Kershaw,
Bizarre Inc.,
Camouflage,
The Moleskins,
The Move,
Moss Icon,
The Motions,
The Blues Magoos,
The Buckinghams,
Piero Umiliani,
the Association,
Desert Stars,
Alphaville,
Magma,
Iggy Pop,
Sister Nancy,
Ituana,
Kool Moe Dee,
Harpers Bizarre,
R.M.O.,
Malaria!,
Lou Reed & Metallica,
Rahsaan Roland Kirk,
Peter & Gordon,
Tears for Fears,
Chrome,
B.T. Express,
The Cosmic Jokers,
Man Eating Sloth,
Radio Birdman,
The Royal Family And The Poor,
The Modern Lovers,
Danielle Patucci,
Crime,
Section 25,
Bill Wells,
Art Ensemble Of Chicago,
ABBA,
Underground Resistance,
Neil Young,
Aaron Thompson,
Kerrie Biddell,
Unwound,
The Chocolate Watch Band,
The Blackbyrds,
Peter and Kerry,
Terror Squad Feat. Camron,
Joensuu 1685,
The Pop Group,
Das Ding,
The Monks,
Mark Hollis,
Roxy Music,
Lou Christie, Lou Christie, Lou Christie, Lou Christie.
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.