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 South Africa and from Beijing.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Salvador.
I'm losing my edge to the art-school Lagos 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 Isaac Hayes to the electroclash kids.
I played it at the 40 Watt.
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 The Evens. All the underground hits.
All Charles Mingus tracks. I heard you have a vinyl of every Neil Young 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 '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Marcia Griffiths record.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Barracudas,
Kings Of Tomorrow,
Avey Tare & Kría Brekkan,
Manfred Mann's Earth Band,
China Crisis,
The Move,
Swell Maps,
Unrelated Segments,
Fluxion,
Nico,
Red Lorry Yellow Lorry,
AZ,
Throbbing Gristle,
The Pop Group,
Cymande,
New Age Steppers,
Fad Gadget,
Sun City Girls,
Bang on a Can All-Stars,
Max Romeo,
48th St. Collective,
Infiniti,
L. Decosne,
The Knickerbockers,
Robert Wyatt,
Trumans Water,
Unwound,
Camberwell Now,
Drexciya,
Banda Bassotti,
Graham Central Station,
The Techniques,
The Gladiators,
EPMD,
F. McDonald,
Rowland S Howard / Lydia Lunch,
Zero Boys,
Deepchord,
Gichy Dan,
Talk Talk,
Moss Icon,
Derrick Morgan,
The Tremeloes,
The Trojans,
The Smiths,
Cabaret Voltaire,
Lyres,
Gong,
Scion,
The Cure,
The Litter,
Stockholm Monsters,
The Kinks,
Larry & the Blue Notes,
Gerry Rafferty,
Circle Jerks,
The Mojo Men,
Black Flag,
Yusef Lateef,
Soul Sonic Force,
Popol Vuh,
Sandy B, Sandy B, Sandy B, Sandy B.
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.