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 Egypt and from Edmonton.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1965 to 1978.
I'm losing my edge.
To all the kids in Tokyo and Lyon.
I'm losing my edge to the art-school Portland 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 güiro 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 Rakim to the disco 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 Brick. All the underground hits.
All Eve St. Jones tracks. I heard you have a vinyl of every Gang of Four record on German import.
I heard that you have a white label of every seminal electroclash 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 spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Sunsets and Hearts record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Music Machine,
Brick,
Junior Murvin,
Fugazi,
JFA,
Marshall Jefferson,
Arthur Verocai,
The Fuzztones,
Electric Light Orchestra,
Vainqueur,
Ice-T,
H. Thieme,
Kerrie Biddell,
KRS-One,
Roy Ayers,
K-Klass,
Ultravox,
Deutsch Amerikanische Freundschaft,
Pete Rock & C.L. Smooth,
Robert Wyatt,
Bill Near,
Man Eating Sloth,
Ituana,
Faust,
Gian Franco Pienzio,
The Trojans,
Grandmaster Flash and the Furious Five,
Minny Pops,
The Move,
The Martian,
James White and The Blacks,
X-102,
Joyce Sims,
kango's stein massive,
Sixth Finger,
Gang of Four,
Stiv Bators,
Index,
Q and Not U,
The Pretty Things,
The Gories,
Alphaville,
Michelle Simonal,
The West Coast Pop Art Experimental Band,
Magazine,
MC5,
Quadrant,
Connie Case,
Morten Harket,
David Axelrod,
Lightning Bolt,
Eyeless In Gaza,
The Raincoats,
Ten City,
Carl Craig,
Brass Construction,
Harry Pussy,
Lou Reed,
Kurtis Blow,
Wally Richardson,
Warren Ellis,
Oneida,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.