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 Ecuador and from Sao Paulo.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Jakarta and Winnipeg.
I'm losing my edge to the art-school Manchester 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the harpsichord 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 Motorama to the rap kids.
I played it at the Spitz.
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 Red Lorry Yellow Lorry. All the underground hits.
All The Young Rascals tracks. I heard you have a vinyl of every Susan Cadogan record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Intrusion record.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Darondo,
The Associates,
Eyeless In Gaza,
Stockholm Monsters,
Ronan,
Organ,
Gil Scott-Heron and Jamie xx,
Byron Stingily,
Delon & Dalcan,
Flipper,
Roger Hodgson,
Kas Product,
Lou Reed,
Minutemen,
Gerry Rafferty,
Rod Modell,
Visage,
Harpers Bizarre,
Deakin,
DJ Style,
The Slits,
The Red Krayola,
Second Layer,
The Five Americans,
B.T. Express,
The Cosmic Jokers,
Electric Prunes,
Underground Resistance,
Nils Olav,
Boogie Down Productions,
Hashim,
Popol Vuh,
Trumans Water,
Monolake,
Man Parrish,
Girls At Our Best!,
Gang Green,
Marc Romboy vs. Booka Shade,
The Saints,
Interpol,
Pierre Henry,
Ultimate Spinach,
Pete Rock & C.L. Smooth,
Throbbing Gristle,
Model 500,
Strawberry Alarm Clock,
Saccharine Trust,
Eric Dolphy,
Isaac Hayes,
Thompson Twins,
Porter Ricks,
The Flesh Eaters,
DNA,
The Real Kids,
Roy Ayers Ubiquity,
Avey Tare's Slasher Flicks,
Jacob Miller,
Qualms,
Sällskapet, Sällskapet, Sällskapet, Sällskapet.
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.