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 Yemen and from Stockholm.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Halifax and Manila.
I'm losing my edge to the art-school Stockholm 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 chamberlin 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 The Associates to the electroclash kids.
I played it at Trash.
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 Kings Of Tomorrow. All the underground hits.
All The Electric Prunes tracks. I heard you have a vinyl of every Pantytec 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 '50s cut and another box set from the '90s.
I hear you're buying a theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
The Techniques,
Maurizio,
Vainqueur,
Janne Schatter,
Peter & Gordon,
Amazonics,
Hardrive,
Deakin,
Jeru the Damaja,
The J.B.'s,
June Days,
Tomorrow,
Lalann,
Ash Ra Tempel,
Q and Not U,
The Five Americans,
Metal Thangz,
Los Fastidios,
Bronski Beat,
Dawn Penn,
Chrome,
Talk Talk,
Ludus,
Roy Ayers Ubiquity,
Grey Daturas,
Q65,
Todd Terry,
Arab on Radar,
Kaleidoscope,
H. Thieme,
Eric Dolphy,
Jimmy McGriff,
PIL,
The Mighty Diamonds,
Wally Richardson,
Brand Nubian,
Gregory Isaacs,
Ajijia Myrayebe,
Tres Demented,
the Germs,
Reagan Youth,
Radiopuhelimet,
The Last Poets,
Alice Coltrane,
Iggy Pop,
Pharoah Sanders,
10cc,
Archie Shepp,
Thee Headcoats,
Mars,
Jerry Gold Smith,
Bizarre Inc.,
LL Cool J,
Derrick Morgan,
Cymande,
Ponytail,
CMW,
The Selecter,
Soft Machine,
Glambeats Corp.,
The Mummies,
Johnny Clarke,
Boogie Down Productions,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.