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 Mongolia 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 1968 to 1974.
I'm losing my edge.
To all the kids in Philadelphia and Paris.
I'm losing my edge to the art-school Glasgow 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the chamberlin sounds with much patience.
I was there when David Bowie 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 Alton Ellis to the funk 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 The Monochrome Set. All the underground hits.
All Minnie Riperton tracks. I heard you have a vinyl of every Lee Hazlewood 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 '80s cut and another box set from the '70s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Patti Smith record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Moon,
The Leaves,
Gong,
Big Daddy Kane,
Vaughan Mason & Crew,
Richard Hell and the Voidoids,
Donny Hathaway,
Marc Romboy vs. Booka Shade,
Unrelated Segments,
Jacques Brel,
Susan Cadogan,
Magma,
Maleditus Sound,
Tomorrow,
Roy Ayers,
The Count Five,
Marine Girls,
Ultimate Spinach,
Moebius,
Radiopuhelimet,
Adolescents,
Lungfish,
Pussy Galore,
Terry Callier,
Loose Ends,
Half Japanese,
Josef K,
Boogie Down Productions,
Pagans,
Rod Modell,
Whodini,
The Move,
Eyeless In Gaza,
Crime,
Lizzy Mercier Descloux,
Pylon,
Strawberry Alarm Clock,
Kas Product,
Glambeats Corp.,
The Buckinghams,
Faust,
Gil Scott Heron,
Desert Stars,
Neil Young,
Notorious BIG live in Amsterdam,
Tom Boy,
Terrestrial Tones,
T. Rex,
Lafayette Afro Rock Band,
Major Organ And The Adding Machine,
The Divine Comedy,
Masters at Work,
the Normal,
Bootsy Collins,
Althea and Donna,
Angels of Light & Akron/Family,
Eric B and Rakim,
Swell Maps,
Aswad,
Zero Boys,
Marshall Jefferson,
Toni Rubio,
Neil Young & Crazy Horse,
Harpers Bizarre, Harpers Bizarre, Harpers Bizarre, Harpers Bizarre.
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.