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 Mali and from Manila.
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 1960 to 1972.
I'm losing my edge.
To all the kids in London and Delhi.
I'm losing my edge to the art-school Beijing 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 Neu! practice in a loft in Düsseldorf.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Scientists to the rock 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 Average White Band. All the underground hits.
All Brothers Johnson tracks. I heard you have a vinyl of every Strawberry Alarm Clock 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 '90s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Crispian St. Peters record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Malaria!,
Gil Scott Heron,
Porter Ricks,
Rod Modell,
Iggy Pop,
Jeru the Damaja,
Scientists,
Ten City,
Anakelly,
Joyce Sims,
Toni Rubio,
Dawn Penn,
Derrick May,
Bobby Sherman,
Beasts of Bourbon,
Crispy Ambulance,
Young Marble Giants,
Severed Heads,
The Neon Judgement,
Ronnie Foster,
10cc,
Gian Franco Pienzio,
The Moleskins,
Camberwell Now,
Michelle Simonal,
The Peanut Butter Conspiracy,
Susan Cadogan,
Bobby Hutcherson,
The Gap Band,
The Names,
Nation of Ulysses,
The Doors,
Thee Headcoats,
Avey Tare,
Gastr Del Sol,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Orchestral Manoeuvres in the Dark,
Louis and Bebe Barron,
Notorious BIG live in Amsterdam,
Youth Brigade,
ABBA,
Aloha Tigers,
The Sound,
Magazine,
The Pop Group,
Idris Muhammad,
Quando Quango,
Bizarre Inc.,
Nas,
Second Layer,
Danielle Patucci,
Lightning Bolt,
Peter Gordon & Love of Life Orchestra,
Theoretical Girls,
L. Decosne,
Supertramp,
The J.B.'s,
the Fania All-Stars,
Alison Limerick,
Lungfish, Lungfish, Lungfish, Lungfish.
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.