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 Maldives and from London.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Portland and Lyon.
I'm losing my edge to the art-school Manila 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 güiro sounds with much patience.
I was there when Nile Rodgers 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 Sun Ra Arkestra to the punk kids.
I played it at the Roxy.
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 Gil Scott Heron. All the underground hits.
All Buzzcocks tracks. I heard you have a vinyl of every Grandmaster Flash record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Connie Case record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ajijia Myrayebe,
DJ Style,
Aswad,
Underground Resistance,
Pantytec,
The Doors,
Avey Tare's Slasher Flicks,
Janne Schatter,
Agitation Free,
ABC,
Ornette Coleman,
The Smoke,
Piero Umiliani,
Robert Görl,
Quadrant,
Popol Vuh,
the Bar-Kays,
Ohio Players,
Charles Mingus,
Lightning Bolt,
De La Soul & Jungle Brothers,
Peter Gordon & Love of Life Orchestra,
Quando Quango,
Black Sheep,
Todd Terry,
Althea and Donna,
The West Coast Pop Art Experimental Band,
Gong,
Crash Course in Science,
The Men They Couldn't Hang,
The Music Machine,
Bobby Byrd,
Dorothy Ashby,
Neil Young,
Faust,
The Fire Engines,
John Cale,
Pet Shop Boys,
Bob Dylan,
The Blues Magoos,
Prince Buster,
The Searchers,
Arthur Verocai,
Yaz,
Minutemen,
The Fortunes,
Archie Shepp,
The Victims,
China Crisis,
Girls At Our Best!,
Bobby Hutcherson,
Television,
Matthew Bourne,
Morten Harket,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Rowland S Howard / Lydia Lunch,
Boogie Down Productions,
cv313,
Juan Atkins,
Fela Kuti,
Davy DMX,
Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars.
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.