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 Kenya and from Sao Paulo.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Manchester.
I'm losing my edge to the art-school Madrid 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 harpsichord 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 Sight & Sound to the rap 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 Lee Hazlewood. All the underground hits.
All The Trojans tracks. I heard you have a vinyl of every The Dead C 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 '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Sällskapet 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?
Supertramp,
Todd Rundgren,
Bootsy's Rubber Band,
Archie Shepp,
Tomorrow,
Sexual Harrassment,
The Music Machine,
The Birthday Party,
Blancmange,
The Victims,
Harry Pussy,
Funkadelic,
Warsaw,
Main Source,
OOIOO,
E-Dancer,
Neil Young & Crazy Horse,
Bluetip,
This Heat,
Terry Callier,
It's A Beautiful Day,
Gregory Isaacs,
Animal Collective,
Ronan,
The Gun Club,
Gil Scott-Heron and Jamie xx,
PIL,
Sticky Fingaz feat. Raekwon,
Sly & The Family Stone,
Electric Prunes,
Easy Going,
Minnie Riperton,
Jawbox,
Kool G Rap & DJ Polo,
Bill Near,
Anthony Braxton,
Los Fastidios,
Ultravox,
The Cowsills,
Laurel Aitken,
Joe Finger,
Interpol,
Visage,
Panda Bear,
Whodini,
Loose Ends,
Neu!,
Mandrill,
Don Cherry,
Captain Beefheart & His Magic Band,
Gang Starr,
Eric B and Rakim,
Selector Dub Narcotic,
Drexciya,
Hoover,
Leonard Cohen,
Soft Cell,
Girls At Our Best!,
Brand Nubian,
Visionaries,LMNO, T- Love & Iriscience,
Wire,
The American Breed,
Jeff Mills, Jeff Mills, Jeff Mills, Jeff Mills.
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.