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 Bangladesh and from New York.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Copenhagen and Paris.
I'm losing my edge to the art-school Columbus 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 spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Anthony Braxton to the crunk kids.
I played it at Trash.
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 Wasted Youth. All the underground hits.
All The Moody Blues tracks. I heard you have a vinyl of every The Detroit Cobras 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 '70s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Rapeman record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Notorious Big And Bone Thugs,
The Beau Brummels,
Derrick Morgan,
The Doors,
Sun Ra,
Robert Hood,
Scrapy,
Orchestral Manoeuvres in the Dark,
Marine Girls,
Massinfluence,
Malaria!,
The Cosmic Jokers,
Bobby Byrd,
Scott Walker + Sunn O))),
The Move,
Aaron Thompson,
Gang of Four,
Kings Of Tomorrow,
Organ,
Lalo Schifrin,
Bobby Hutcherson,
T. Rex,
Gil Scott Heron,
Technova,
10cc,
Funkadelic,
Soft Machine,
Skaos,
Das Ding,
New Age Steppers,
Wolf Eyes,
Desert Stars,
Prince Buster,
Hot Snakes,
Delon & Dalcan,
Bobbi Humphrey,
X-101,
Public Image Ltd.,
Richard Hell and the Voidoids,
Jeru the Damaja,
MDC,
Ultimate Spinach,
Siglo XX,
Sun Ra Arkestra,
Gong,
Soul II Soul,
Japan,
Rekid,
Can,
Eden Ahbez,
Skriet,
Gang Green,
Duran Duran,
Main Source,
Grauzone,
Blake Baxter,
Fear,
Throbbing Gristle,
The Names,
Urselle,
LL Cool J, LL Cool J, LL Cool J, LL Cool J.
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.