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 Qatar and from Milan.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1971.
I'm losing my edge.
To all the kids in Mexico City and Glasgow.
I'm losing my edge to the art-school Beijing 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 güiro sounds with much patience.
I was there when Robert Palmer 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 ABC to the rock kids.
I played it at the Astoria.
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 Stockholm Monsters. All the underground hits.
All Scott Walker + Sunn O))) tracks. I heard you have a vinyl of every kango's stein massive record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine record.
I hear that you and your band have sold your oboe and bought a 808.
I hear that you and your band have sold your 808 and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Certain Ratio,
Boredoms,
Gil Scott Heron,
Magazine,
Brick,
The Busters,
Ohio Players,
Red Lorry Yellow Lorry,
Nils Olav,
Scientists,
Mantronix,
Siglo XX,
Main Source,
David Axelrod,
Aaron Thompson,
Matthew Bourne,
Isaac Hayes,
Section 25,
The Litter,
Ultravox,
Gregory Isaacs,
Sällskapet,
Kenny Larkin,
Orchestral Manoeuvres in the Dark,
Bootsy's Rubber Band,
Zero Boys,
Black Flag,
Pharaoh Sanders and the Fire Engines,
The Velvet Underground,
Kauko Röyhkä ja Narttu,
Babytalk,
Wally Richardson,
the Germs,
Talk Talk,
John Holt,
Cabaret Voltaire,
Lizzy Mercier Descloux,
Neil Young & Crazy Horse,
10cc,
Gabor Szabo,
Idris Muhammad,
B.T. Express,
Soulsonic Force,
Black Pus,
Suburban Knight,
Trumans Water,
Sonic Youth,
Be Bop Deluxe,
Peter Gordon & Love of Life Orchestra,
Bob Dylan,
Roxy Music,
Rotary Connection,
Ronan,
Warsaw,
The Five Americans,
London Community Gospel Choir,
Carl Craig,
Qualms,
Stockholm Monsters,
Saccharine Trust,
The Electric Prunes,
Nation of Ulysses,
Newcleus, Newcleus, Newcleus, Newcleus.
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.