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 Ecuador and from Beijing.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Halifax and Salvador.
I'm losing my edge to the art-school Madrid 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the chamberlin 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 Aswad to the grime 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 Absolute Body Control. All the underground hits.
All Fat Boys tracks. I heard you have a vinyl of every DeepChord presents Echospace 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 '80s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Kinks record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ash Ra Tempel,
Deakin,
The Cosmic Jokers,
Black Sheep,
These Immortal Souls,
Archie Shepp,
Pole,
Sunsets and Hearts,
The Durutti Column,
Roy Ayers Ubiquity,
Fear,
Rahsaan Roland Kirk,
Oneida,
Index,
Michelle Simonal,
Magazine,
Lee Hazlewood,
Nation of Ulysses,
Delon & Dalcan,
Mandrill,
The Raincoats,
E-Dancer,
Kings Of Tomorrow,
Junior Murvin,
Tropical Tobacco,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Sun Ra,
R.M.O.,
Bauhaus,
Country Teasers,
Brothers Johnson,
Agent Orange,
Franke,
Popol Vuh,
48th St. Collective,
Radiohead,
Pharaoh Sanders and the Fire Engines,
Subhumans,
Trumans Water,
Notorious Big And Bone Thugs,
Curtis Mayfield,
Skaos,
The Angels of Light,
Vaughan Mason & Crew,
Matthew Bourne,
Angry Samoans,
Y Pants,
Charles Mingus,
Jesper Dahlback,
Little Man,
Section 25,
Electric Prunes,
The Slits,
Crime,
Avey Tare,
Röyhkä ja Rättö ja Lehtisalo,
Hasil Adkins,
Eyeless In Gaza,
Hardrive,
The Techniques,
Richard Hell and the Voidoids,
Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five.
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.