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 El Salvador and from Hong Kong.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Portland and Paris.
I'm losing my edge to the art-school Tehran 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 linndrum 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 Smoke to the techno kids.
I played it at the Troubador.
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 Shadows of Knight. All the underground hits.
All Henry Cow tracks. I heard you have a vinyl of every The Raincoats record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Sound record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Depeche Mode,
Pharoah Sanders,
Pere Ubu,
Minnie Riperton,
Accadde A,
Radiopuhelimet,
La Düsseldorf,
Connie Case,
Jandek,
DJ Style,
Ohio Players,
X-102,
Neu!,
Selector Dub Narcotic,
The Red Krayola,
Dual Sessions,
Marvin Gaye,
Quadrant,
Severed Heads,
Camron Feat. Memphis Bleek And Beenie Seigel,
June Days,
Stiv Bators,
Bobbi Humphrey,
10cc,
The United States of America,
the Swans,
Dave Gahan,
Sarah Menescal,
Michelle Simonal,
Ajijia Myrayebe,
Ten City,
James White and The Blacks,
Albert Ayler,
Art Ensemble Of Chicago,
the Germs,
Tubeway Army,
Japan,
Sexual Harrassment,
Nas,
Johnny Osbourne,
The Vogues,
The Doors,
Patti Smith,
Banda Bassotti,
Electric Prunes,
The Velvet Underground,
Sam Rivers,
Ronnie Foster,
Country Teasers,
Wings,
Barrington Levy,
Neil Young,
Letta Mbulu,
X-Ray Spex,
Von Mondo,
Ossler,
Spandau Ballet,
Lebanon Hanover,
Soft Machine,
Funkadelic,
Altered Images,
Rhythm & Sound,
Joyce Sims, Joyce Sims, Joyce Sims, Joyce Sims.
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.