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 Rwanda and from Houston.
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 1972.
I'm losing my edge.
To all the kids in Seoul and Portland.
I'm losing my edge to the art-school Tehran 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 arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Technova to the jazz kids.
I played it at the 40 Watt.
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 Franke. All the underground hits.
All Supertramp tracks. I heard you have a vinyl of every Grauzone 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 '80s cut and another box set from the '70s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Popol Vuh record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aswad,
June of 44,
Fort Wilson Riot,
Bob Dylan,
Mars,
Nick Cave & The Bad Seeds,
Terrestrial Tones,
Gil Scott Heron,
Drive Like Jehu,
Andrew Ashong & Theo Parrish,
Suburban Knight,
Siglo XX,
Au Pairs,
Roxy Music,
Camberwell Now,
Michelle Simonal,
Crooked Eye,
Cluster,
Stereo Dub,
kango's stein massive,
Metal Thangz,
Simply Red,
Royal Trux,
Moss Icon,
The Vogues,
Marc Romboy vs. Booka Shade,
Carl Craig,
Charles Mingus,
Bizarre Inc.,
Notorious Big And Bone Thugs,
Can,
Smog,
Guru Guru,
Spandau Ballet,
Chrome,
Sonny Sharrock,
Todd Rundgren,
Graham Central Station,
Traffic Nightmare,
Matthew Halsall,
Jacques Brel,
Gian Franco Pienzio,
Sister Nancy,
James Chance & The Contortions,
Bauhaus,
cv313,
Bluetip,
Loose Ends,
The Motions,
Cameo,
Unrelated Segments,
LL Cool J,
Kerri Chandler,
Moby Grape,
Soulsonic Force,
Neil Young & Crazy Horse,
Jacob Miller,
Pantaleimon,
Pagans,
Minny Pops,
Tim Buckley,
Lou Reed,
Lalo Schifrin, Lalo Schifrin, Lalo Schifrin, Lalo Schifrin.
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.