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 Papua New Guinea and from Glasgow.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Mexico City and Mexico City.
I'm losing my edge to the art-school Seoul 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the chamberlin 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 James White and The Blacks to the disco kids.
I played it at Cafe Wha.
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 Skaos. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every Bizarre Inc. record on German import.
I heard that you have a white label of every seminal techno 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 spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a JFA record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grey Daturas,
Red Lorry Yellow Lorry,
Gang Starr,
The Flesh Eaters,
Sex Pistols,
Audionom,
Absolute Body Control,
Big Daddy Kane,
Lizzy Mercier Descloux,
Niagra,
Harmonia,
H. Thieme,
Andrew Hill,
John Lydon,
Avey Tare & Kría Brekkan,
kango's stein massive,
Clear Light,
Larry & the Blue Notes,
Unwound,
Ken Boothe,
L. Decosne,
Kerri Chandler,
Morten Harket,
The Star Department,
Kango’s Stein Massive,
The Sound,
Sugar Minott,
Tom Boy,
The Doors,
Oppenheimer Analysis,
In Retrospect,
Suburban Knight,
Pantaleimon,
Jacob Miller,
Crooked Eye,
Althea and Donna,
Urselle,
Saccharine Trust,
James Chance & The Contortions,
Depeche Mode,
Procol Harum,
The Gap Band,
Isaac Hayes,
Hoover,
Gregory Isaacs,
Lou Reed & Metallica,
London Community Gospel Choir,
Animal Collective,
Röyhkä ja Rättö ja Lehtisalo,
Flipper,
The Divine Comedy,
Radiopuhelimet,
Grauzone,
Sällskapet,
Ronnie Foster,
Los Fastidios,
Dawn Penn,
The Happenings,
Drexciya,
Talk Talk,
Minor Threat, Minor Threat, Minor Threat, Minor Threat.
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.