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 Mexico and from Mexico City.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Salvador and Tokyo.
I'm losing my edge to the art-school Hong Kong 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 oboe sounds with much patience.
I was there when Lou Reed 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 Warren Ellis to the electroclash kids.
I played it at the Troubador.
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 ABC. All the underground hits.
All Connie Case tracks. I heard you have a vinyl of every Stiv Bators record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Michelle Simonal record.
I hear that you and your band have sold your güiro and bought a marimba.
I hear that you and your band have sold your marimba and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Groovy Waters,
James Chance & The Contortions,
Liaisons Dangereuses,
Ice-T,
Barry Ungar,
Janne Schatter,
Camberwell Now,
Anthony Braxton,
Oneida,
Oppenheimer Analysis,
Albert Ayler,
Pylon,
The Sound,
Louis and Bebe Barron,
Gil Scott Heron,
Erykah Badu,
Terry Callier,
Sonny Sharrock,
Isaac Hayes,
Lizzy Mercier Descloux,
Depeche Mode,
Fatback Band,
Television Personalities,
Yusef Lateef,
Unrelated Segments,
Moebius,
Ponytail,
Andrew Hill,
Bootsy Collins,
Skarface,
Flash Fearless,
Gary Puckett & The Union Gap,
Sex Pistols,
Jeru the Damaja,
Dead Boys,
Cybotron,
Youth Brigade,
The United States of America,
Brothers Johnson,
Bobby Sherman,
Lightning Bolt,
Tres Demented,
Mad Mike,
Camron Feat. Memphis Bleek And Beenie Seigel,
Erasure,
Lungfish,
Fort Wilson Riot,
Yaz,
Ronnie Foster,
Desert Stars,
Sun City Girls,
MDC,
La Düsseldorf,
The Victims,
The Smiths,
Lee Hazlewood,
Kerrie Biddell,
Röyhkä ja Rättö ja Lehtisalo,
Slick Rick,
Monks,
The West Coast Pop Art Experimental Band,
The Tremeloes,
The Gladiators, The Gladiators, The Gladiators, The Gladiators.
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.