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 Brazil and from Philadelphia.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1976.
I'm losing my edge.
To all the kids in Tehran and Mumbai.
I'm losing my edge to the art-school Bremen 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 The Trojans to the rock kids.
I played it at the Roxy.
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 Ronnie Foster. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every Flipper record on German import.
I heard that you have a white label of every seminal disco 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 synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pete Rock & C.L. Smooth,
Wire,
The Seeds,
Flipper,
The Angels of Light,
Yellowson,
The Misunderstood,
10cc,
The Sonics,
Jerry Gold Smith,
Pylon,
Porter Ricks,
Dark Day,
London Community Gospel Choir,
Fort Wilson Riot,
Sun Ra Arkestra,
Tommy Roe,
Lalann,
Ken Boothe,
Lalo Schifrin,
Minutemen,
Barry Ungar,
Young Marble Giants,
World's Most,
Dave Gahan,
Althea and Donna,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Litter,
Massinfluence,
Masters at Work,
Aswad,
Half Japanese,
The New Christs,
Pharoah Sanders,
The Durutti Column,
Brand Nubian,
The Real Kids,
Gastr Del Sol,
Selector Dub Narcotic,
Curtis Mayfield,
Minnie Riperton,
The Vogues,
Sly & The Family Stone,
Dual Sessions,
Alison Limerick,
Hasil Adkins,
Derrick Morgan,
Malaria!,
T. Rex,
Gang Green,
Captain Beefheart & His Magic Band,
Bob Dylan,
The Mummies,
Notorious Big And Bone Thugs,
Wolf Eyes,
Hoover,
The Chocolate Watch Band,
Camberwell Now,
The Men They Couldn't Hang,
The Smoke,
Andrew Ashong & Theo Parrish,
Q and Not U,
Kurtis Blow,
The United States of America, The United States of America, The United States of America, The United States of America.
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.