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 Toronto.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Tokyo.
I'm losing my edge to the art-school Tokyo 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 mellotron sounds with much patience.
I was there when Tom Verlaine 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 John Coltrane to the crunk kids.
I played it at the Crocodile.
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 Terrestrial Tones. All the underground hits.
All The Offenders tracks. I heard you have a vinyl of every Barrington Levy 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 '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Golliwogs record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
Ajijia Myrayebe,
Alton Ellis,
UT,
Nick Fraelich,
the Slits,
Gabor Szabo,
David McCallum,
Gil Scott-Heron and Jamie xx,
Jesper Dahlback,
The Standells,
Kas Product,
The Mighty Diamonds,
The Pop Group,
The Angels of Light,
Desert Stars,
Darondo,
Easy Going,
Ponytail,
Althea and Donna,
Quantec,
The Men They Couldn't Hang,
Siouxsie and the Banshees,
John Cale,
Kaleidoscope,
Boogie Down Productions,
Banda Bassotti,
The Index,
Barclay James Harvest,
Schoolly D,
Japan,
Nation of Ulysses,
Strawberry Alarm Clock,
Dave Gahan,
Gerry Rafferty,
Bobby Hutcherson,
Aural Exciters,
Amazonics,
Scratch Acid,
Tom Boy,
Bobbi Humphrey,
Thee Headcoats,
Negative Approach,
Ossler,
Buzzcocks,
Fatback Band,
Scan 7,
Super Lover Cee & Casanova Rud,
Larry & the Blue Notes,
Monolake,
The Jesus and Mary Chain,
Fad Gadget,
Steve Hackett,
Davy DMX,
The Cure,
Pere Ubu,
Gang of Four,
The Neon Judgement,
Kurtis Blow,
Mo-Dettes,
Altered Images,
Jacob Miller,
Grandmaster Flash and the Furious Five,
The Techniques, The Techniques, The Techniques, The Techniques.
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.