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 New Zealand and from Hong Kong.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1963 to 1970.
I'm losing my edge.
To all the kids in Lille and Tehran.
I'm losing my edge to the art-school Manila 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 snare 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 Brand Nubian to the rap kids.
I played it at the Hacienda.
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 Chrome. All the underground hits.
All Rakim tracks. I heard you have a vinyl of every Animal Collective record on German import.
I heard that you have a white label of every seminal jazz 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 theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Traffic Nightmare record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terry Callier,
Subhumans,
Cheater Slicks,
8 Eyed Spy,
Brass Construction,
Adolescents,
Tim Buckley,
Howard Jones,
Magazine,
Jeff Lynne,
Teenage Jesus and the Jerks,
Jeff Mills,
Maleditus Sound,
Essential Logic,
Junior Murvin,
The Leaves,
Sun Ra,
Michelle Simonal,
Royal Trux,
DNA,
The Cowsills,
London Community Gospel Choir,
Harry Pussy,
The Doobie Brothers,
Boz Scaggs,
It's A Beautiful Day,
Boredoms,
the Human League,
The Dirtbombs,
Model 500,
Fatback Band,
Eric B and Rakim,
The Fuzztones,
Nation of Ulysses,
Rhythm & Sound,
Lonnie Liston Smith,
The Fortunes,
Mandrill,
The Young Rascals,
Sun Ra Arkestra,
Sound Behaviour,
Robert Hood,
Carl Craig,
Lower 48,
Arab on Radar,
The Associates,
Siglo XX,
Aural Exciters,
Jesper Dahlbäck,
Henry Cow,
Lou Reed & Metallica,
Banda Bassotti,
the Normal,
Byron Stingily,
Gong,
Angels of Light & Akron/Family,
Bluetip,
JFA,
Dawn Penn,
Beasts of Bourbon,
The Searchers,
Ornette Coleman,
Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish.
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.