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 Liberia and from Johannesburg.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Paris and Copenhagen.
I'm losing my edge to the art-school Cairo 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the sitar 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 The Gun Club to the disco kids.
I played it at the Spitz.
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 Gang of Four. All the underground hits.
All Trumans Water tracks. I heard you have a vinyl of every Warren Ellis record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an oboe and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Angry Samoans,
Barbara Tucker,
Flamin' Groovies,
Rapeman,
Wire,
Davy DMX,
Susan Cadogan,
Pagans,
Scion,
ABBA,
The Selecter,
the Slits,
John Lydon,
Echospace,
JFA,
Niagra,
Sad Lovers and Giants,
Fifty Foot Hose,
Donny Hathaway,
The Blackbyrds,
Aloha Tigers,
The Cramps,
Oneida,
Scott Walker + Sunn O))),
Ornette Coleman,
Albert Ayler,
Letta Mbulu,
John Holt,
Ten City,
Brass Construction,
The Invisible,
Main Source,
Roxy Music,
Babytalk,
Gian Franco Pienzio,
Agitation Free,
Animal Collective,
The Blues Magoos,
Orchestral Manoeuvres in the Dark,
John Coltrane,
Easy Going,
Television Personalities,
Jerry's Kids,
Derrick Morgan,
Scan 7,
Das Ding,
Charles Mingus,
Q and Not U,
Mark Hollis,
Big Daddy Kane,
Toni Rubio,
Jawbox,
Slave,
The Black Dice,
Pussy Galore,
Lizzy Mercier Descloux,
Excepter,
Morten Harket,
8 Eyed Spy,
Josef K,
Laurel Aitken,
Vainqueur, Vainqueur, Vainqueur, Vainqueur.
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.