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 Uruguay and from Tehran.
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 1974.
I'm losing my edge.
To all the kids in Philadelphia and Taipei.
I'm losing my edge to the art-school Taipei 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 1984 at the first Arcadia practice in a loft in London.
I was working on the theremin 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 Eden Ahbez to the grime 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 Ohio Players. All the underground hits.
All Swell Maps tracks. I heard you have a vinyl of every Alison Limerick 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 '60s cut and another box set from the '70s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Franke record.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sarah Menescal,
Rapeman,
DNA,
Popol Vuh,
New York Dolls,
The Move,
David McCallum,
Rhythim Is Rhythim,
Avey Tare,
Q and Not U,
Marvin Gaye,
Black Sheep,
the Sonics,
Underground Resistance,
Lee Hazlewood,
Jeru the Damaja,
Joyce Sims,
The Star Department,
Yusef Lateef,
Avey Tare & Kría Brekkan,
Mary Jane Girls,
Scott Walker,
Das Ding,
Derrick Morgan,
Eden Ahbez,
Agent Orange,
James Chance & The Contortions,
Deakin,
Crash Course in Science,
Angry Samoans,
Cybotron,
The J.B.'s,
Bronski Beat,
Khruangbin,
In Retrospect,
Gabor Szabo,
Angels of Light & Akron/Family,
Lalann,
Interpol,
Roger Hodgson,
Swans,
Hoover,
Kerri Chandler,
Chris Corsano,
Gastr Del Sol,
Sonny Sharrock,
Babytalk,
Warsaw,
Cymande,
Be Bop Deluxe,
DJ Style,
Shoche,
Bobby Hutcherson,
Accadde A,
Altered Images,
Marc Romboy vs. Booka Shade,
Malaria!,
8 Eyed Spy,
Wighnomy Brothers & Robag Wruhme,
Quantec,
Lou Christie, Lou Christie, Lou Christie, Lou Christie.
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.