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 Montenegro and from Cairo.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1961 to 1974.
I'm losing my edge.
To all the kids in Spokane and Calgary.
I'm losing my edge to the art-school Mexico City 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 synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Au Pairs to the crunk 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 Eric Dolphy. All the underground hits.
All James Chance & The Contortions tracks. I heard you have a vinyl of every 8 Eyed Spy 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 '50s cut and another box set from the '70s.
I hear you're buying a sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ice-T,
Dead Boys,
Shoche,
Lalo Schifrin,
The Last Poets,
Half Japanese,
Sun Ra Arkestra,
Theoretical Girls,
Quadrant,
Funkadelic,
Cabaret Voltaire,
Boredoms,
Lou Reed & John Cale,
The Monks,
In Retrospect,
Swans,
Suicide,
Peter and Kerry,
Nils Olav,
Ohio Players,
Rosa Yemen,
Main Source,
Aloha Tigers,
Chris Corsano,
Masters at Work,
Wighnomy Brothers & Robag Wruhme,
Oppenheimer Analysis,
Eli Mardock,
The Cramps,
Janne Schatter,
Index,
Gil Scott-Heron and Jamie xx,
UT,
Joensuu 1685,
June Days,
T. Rex,
Amon Düül II,
The Velvet Underground,
Marcia Griffiths,
Heaven 17,
Pulsallama,
The Chocolate Watch Band,
Moss Icon,
Q and Not U,
Sad Lovers and Giants,
Avey Tare & Kría Brekkan,
Yaz,
Fifty Foot Hose,
Sarah Menescal,
Major Organ And The Adding Machine,
Jandek,
PIL,
Can,
Isaac Hayes,
Steve Hackett,
Make Up,
Quantec,
The Saints,
Monolake,
Lindisfarne,
The Index,
The Evens,
Ralphi Rosario,
JFA, JFA, JFA, JFA.
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.