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 Lesotho and from Shanghai.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Lille.
I'm losing my edge to the art-school Madrid 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 marimba 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 Monolake to the techno kids.
I played it at the 40 Watt.
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 The Busters. All the underground hits.
All Kevin Saunderson tracks. I heard you have a vinyl of every Nirvana 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 '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a One Last Wish record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warren Ellis,
Roxette,
Stereo Dub,
Jerry Gold Smith,
Heaven 17,
The Happenings,
Half Japanese,
Bang on a Can All-Stars,
Susan Cadogan,
Sex Pistols,
Leonard Cohen,
Excepter,
Royal Trux,
Oneida,
the Bar-Kays,
Basic Channel,
Avey Tare & Kría Brekkan,
The Five Americans,
Qualms,
Flamin' Groovies,
Rapeman,
Soul Sonic Force,
Nils Olav,
Major Organ And The Adding Machine,
The Divine Comedy,
Panda Bear,
JFA,
Rites of Spring,
AZ,
the Slits,
David Axelrod,
Bang On A Can,
The Remains,
Morten Harket,
Michelle Simonal,
Yusef Lateef,
Terry Callier,
Notorious Big And Bone Thugs,
Peter Gordon & Love of Life Orchestra,
Big Daddy Kane,
Gil Scott Heron,
Joyce Sims,
Pantytec,
Sunsets and Hearts,
Kaleidoscope,
Bobby Hutcherson,
Smog,
Gerry Rafferty,
Warsaw,
Absolute Body Control,
Scott Walker,
the Sonics,
David Bowie,
Wings,
UT,
Max Romeo,
Angels of Light & Akron/Family,
Amon Düül,
Parry Music,
Fatback Band,
Public Image Ltd.,
Tubeway Army,
Faust, Faust, Faust, Faust.
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.