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 Samoa 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 1970.
I'm losing my edge.
To all the kids in Shanghai and Philadelphia.
I'm losing my edge to the art-school Bologna 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the güiro sounds with much patience.
I was there when Donald Fagen 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 Roy Ayers Ubiquity to the funk kids.
I played it at the Hacienda.
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 Warsaw. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every Ken Boothe 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 '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Alice Coltrane record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mummies,
Black Moon,
Drive Like Jehu,
Aswad,
Negative Approach,
Sound Behaviour,
Boogie Down Productions,
Eric B and Rakim,
The Dirtbombs,
Archie Shepp,
Harmonia,
Flamin' Groovies,
The Dead C,
Marc Almond,
Terrestrial Tones,
Joy Division,
Prince Buster,
Jeff Mills,
Eric Copeland,
Barry Ungar,
Visage,
Circle Jerks,
Oppenheimer Analysis,
Sun Ra Arkestra,
Jerry Gold Smith,
Average White Band,
The Fall,
Rotary Connection,
Ponytail,
Nils Olav,
Justin Hinds & The Dominoes,
Kauko Röyhkä ja Narttu,
Frankie Knuckles,
Banda Bassotti,
Quantec,
Skriet,
Idris Muhammad,
Flash Fearless,
48th St. Collective,
the Soft Cell,
Fort Wilson Riot,
Funkadelic,
Alice Coltrane,
Saccharine Trust,
Robert Wyatt,
The Happenings,
Curtis Mayfield,
Mission of Burma,
A Flock of Seagulls,
Icehouse,
Kango’s Stein Massive,
UT,
Traffic Nightmare,
The Mojo Men,
Subhumans,
The Dave Clark Five,
Pharoah Sanders,
Excepter,
Barrington Levy,
Bobby Hutcherson,
Oneida,
The Smiths,
Morten Harket,
A Certain Ratio,
Sight & Sound, Sight & Sound, Sight & Sound, Sight & Sound.
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.