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 Liberia and from Hong Kong.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Toronto and Taipei.
I'm losing my edge to the art-school Copenhagen 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 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 Dark Day to the jazz kids.
I played it at CBGB's.
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 Liaisons Dangereuses. All the underground hits.
All Second Layer tracks. I heard you have a vinyl of every Fad Gadget record on German import.
I heard that you have a white label of every seminal grime 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 an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Scott Walker record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Excepter,
Mark Hollis,
Accadde A,
Circle Jerks,
Public Enemy,
Rites of Spring,
The Music Machine,
Rosa Yemen,
Angry Samoans,
The Slits,
Adolescents,
Oppenheimer Analysis,
Sunsets and Hearts,
Grauzone,
Gabor Szabo,
AZ,
Brothers Johnson,
Kaleidoscope,
the Sonics,
Public Image Ltd.,
Joyce Sims,
Dark Day,
Cal Tjader,
The Smoke,
Sarah Menescal,
Masters at Work,
The Residents,
Kango’s Stein Massive,
Pharoah Sanders,
Urselle,
the Slits,
Susan Cadogan,
Lafayette Afro Rock Band,
The J.B.'s,
The Electric Prunes,
Dual Sessions,
The Skatalites,
8 Eyed Spy,
Connie Case,
Gregory Isaacs,
Glenn Branca,
ABC,
Neu!,
Inner City,
Fluxion,
Super Lover Cee & Casanova Rud,
Drexciya,
Scott Walker,
Japan,
Peter and Kerry,
Piero Umiliani,
The Leaves,
Soulsonic Force,
The Blues Magoos,
Tres Demented,
One Last Wish,
Andrew Hill,
Half Japanese,
Shuggie Otis,
Nils Olav,
The Chocolate Watch Band,
The Invisible,
F. McDonald, F. McDonald, F. McDonald, F. McDonald.
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.