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 Mauritius and from Johannesburg.
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 1969 to 1972.
I'm losing my edge.
To all the kids in New York and Mexico City.
I'm losing my edge to the art-school Stockholm 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 1984 at the first Arcadia practice in a loft in London.
I was working on the linndrum sounds with much patience.
I was there when Nile Rodgers 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 Parry Music to the disco kids.
I played it at the Crocodile.
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 Tubeway Army. All the underground hits.
All Kerri Chandler tracks. I heard you have a vinyl of every FM Einheit record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Pierre Henry record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gabor Szabo,
Don Cherry,
Shuggie Otis,
The Fugs,
Sound Behaviour,
Peter and Kerry,
Charles Mingus,
Gong,
48th St. Collective,
The Kinks,
Iggy Pop,
Bang on a Can All-Stars,
D'Angelo,
Cluster,
The Peanut Butter Conspiracy,
Das Ding,
Aaron Thompson,
Ajijia Myrayebe,
Buzzcocks,
Anthony Braxton,
Sam Rivers,
Piero Umiliani,
Country Teasers,
Byron Stingily,
Technova,
Kauko Röyhkä ja Narttu,
Gil Scott Heron,
Dennis Brown,
Black Pus,
Yazoo,
James White and The Blacks,
Excepter,
Theoretical Girls,
Brand Nubian,
Jerry Gold Smith,
The Flesh Eaters,
Eric Copeland,
Cecil Taylor,
Andrew Hill,
Bluetip,
Jacob Miller,
Terrestrial Tones,
The Red Krayola,
Public Image Ltd.,
Procol Harum,
Pylon,
Niagra,
Popol Vuh,
Kenny Larkin,
The Cowsills,
Be Bop Deluxe,
Radiohead,
Yusef Lateef,
Sonic Youth,
Donald Byrd,
The Names,
Roxy Music,
Chris & Cosey,
June of 44,
Gang Starr,
Infiniti,
Arthur Verocai,
The Techniques, The Techniques, The Techniques, The Techniques.
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.