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 Haiti and from Seoul.
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 1964 to 1974.
I'm losing my edge.
To all the kids in London and Philadelphia.
I'm losing my edge to the art-school Cairo 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the güiro 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 Neil Young & Crazy Horse to the punk kids.
I played it at the Spitz.
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 Blackbyrds. All the underground hits.
All Gerry Rafferty tracks. I heard you have a vinyl of every Gong record on German import.
I heard that you have a white label of every seminal dance 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 an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Donald Byrd record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kerrie Biddell,
Lakeside,
The Barracudas,
Marcia Griffiths,
Urselle,
Skriet,
The Dead C,
Eden Ahbez,
Captain Beefheart & His Magic Band,
Spoonie Gee,
Ultimate Spinach,
The Mojo Men,
Suicide,
Patti Smith,
Arab on Radar,
Ultravox,
Moby Grape,
Q65,
Maleditus Sound,
the Association,
Pantytec,
Bobby Byrd,
John Lydon,
Wings,
Eyeless In Gaza,
The Mighty Diamonds,
The Smoke,
Franke,
Sun Ra Arkestra,
Nation of Ulysses,
Kurtis Blow,
ABC,
Yusef Lateef,
Marine Girls,
The Grass Roots,
Pulsallama,
Warsaw,
Grandmaster Flash and the Furious Five,
Sarah Menescal,
Connie Case,
K-Klass,
The Litter,
Richard Hell and the Voidoids,
The Zeros,
Barclay James Harvest,
Alphaville,
Altered Images,
Crash Course in Science,
Liaisons Dangereuses,
Can,
the Normal,
Freddie Wadling,
Agitation Free,
Amon Düül II,
Lou Reed,
Cal Tjader,
Rapeman,
Traffic Nightmare,
Bill Wells,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.