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 South Sudan and from Mumbai.
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 1977.
I'm losing my edge.
To all the kids in Jakarta and Milan.
I'm losing my edge to the art-school Columbus 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 Mistral practice in a loft in Amsterdam.
I was working on the sitar sounds with much patience.
I was there when Holger Czukay 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 New York Dolls to the electroclash 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 The Dead C. All the underground hits.
All China Crisis tracks. I heard you have a vinyl of every The Busters record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Peter & Gordon 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?
E-Dancer,
Captain Beefheart & His Magic Band,
Jeru the Damaja,
Guru Guru,
The American Breed,
X-Ray Spex,
Donald Byrd,
K-Klass,
The Men They Couldn't Hang,
UT,
Easy Going,
Byron Stingily,
Warsaw,
Pierre Henry,
Barbara Tucker,
Heavy D & The Boyz,
Accadde A,
Justin Hinds & The Dominoes,
Matthew Halsall,
Kas Product,
Ornette Coleman,
Ludus,
The Blues Magoos,
Eve St. Jones,
DNA,
Deadbeat,
The Cramps,
Angels of Light & Akron/Family,
a-ha,
Sound Behaviour,
Negative Approach,
Desert Stars,
Vaughan Mason & Crew,
Toni Rubio,
The Zeros,
Joy Division,
Adolescents,
Talk Talk,
Wighnomy Brothers & Robag Wruhme,
Ash Ra Tempel,
Saccharine Trust,
the Bar-Kays,
Thompson Twins,
T. Rex,
Drexciya,
The Raincoats,
The Chocolate Watch Band,
Chris & Cosey,
The Cure,
The Skatalites,
La Düsseldorf,
Severed Heads,
Jeff Mills,
Frankie Knuckles,
U.S. Maple,
This Heat,
Fort Wilson Riot,
Michelle Simonal,
Symarip,
Magma,
Bang on a Can All-Stars,
Subhumans,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.