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 Iran and from Glasgow.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and Manchester.
I'm losing my edge to the art-school Milan 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 2001 at the first Tiga practice in a loft in Montreal.
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 Sällskapet to the crunk kids.
I played it at the Astoria.
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 Johnny Osbourne. All the underground hits.
All Sällskapet tracks. I heard you have a vinyl of every Black Flag 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 '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fall,
Sad Lovers and Giants,
Kevin Saunderson,
The Kinks,
Television,
Avey Tare's Slasher Flicks,
Joy Division,
Jimmy McGriff,
F. McDonald,
The Saints,
Roy Ayers,
Bad Manners,
Ludus,
Young Marble Giants,
Aswad,
Rekid,
Gabor Szabo,
Jacob Miller,
Joyce Sims,
Aaron Thompson,
Fela Kuti,
The Move,
Roxy Music,
Joe Finger,
AZ,
Carl Craig,
Bootsy's Rubber Band,
Buzzcocks,
The Sonics,
Erykah Badu,
Terry Callier,
Animal Collective,
Electric Prunes,
Zero Boys,
Jesper Dahlback,
Nik Kershaw,
Cymande,
Moebius,
Archie Shepp,
Peter and Kerry,
Bush Tetras,
Derrick May,
Zapp,
Marc Almond,
The Star Department,
Pharoah Sanders,
Swell Maps,
Harmonia,
The Young Rascals,
Con Funk Shun,
Niagra,
Louis and Bebe Barron,
Glenn Branca,
Derrick Morgan,
Infiniti,
Graham Central Station,
EPMD,
It's A Beautiful Day,
OOIOO,
UT,
Simply Red,
Lafayette Afro Rock Band,
Alice Coltrane,
Mad Mike, Mad Mike, Mad Mike, Mad Mike.
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.