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 San Marino 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 1969 to 1973.
I'm losing my edge.
To all the kids in Calgary and Delhi.
I'm losing my edge to the art-school New York 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Buzzcocks to the disco 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 X-102. All the underground hits.
All Pulsallama tracks. I heard you have a vinyl of every Yazoo 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 '80s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Hill record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Fifty Foot Hose,
Barry Ungar,
Fat Boys,
Can,
Kerri Chandler,
The Men They Couldn't Hang,
Thee Headcoats,
the Germs,
Hot Snakes,
John Coltrane,
Dark Day,
Fatback Band,
Organ,
Lou Reed,
These Immortal Souls,
Laurel Aitken,
Royal Trux,
Heaven 17,
The Golliwogs,
Patti Smith,
Orchestral Manoeuvres in the Dark,
a-ha,
Deepchord,
Sandy B,
Bootsy Collins,
Lakeside,
Gerry Rafferty,
Soul II Soul,
Gang Green,
Matthew Bourne,
Rites of Spring,
Ohio Players,
Silicon Teens,
Newcleus,
Slave,
Jacques Brel,
Amon Düül,
The Motions,
Eden Ahbez,
Bizarre Inc.,
Chris & Cosey,
Scrapy,
The Star Department,
Brass Construction,
Eric Dolphy,
Spandau Ballet,
Mission of Burma,
Art Ensemble Of Chicago,
Rowland S Howard / Lydia Lunch,
Pete Rock & C.L. Smooth,
Second Layer,
Procol Harum,
John Holt,
Smog,
Thompson Twins,
Kas Product,
48th St. Collective,
cv313,
Lyres,
The Misunderstood,
Gang Gang Dance,
The United States of America,
Junior Murvin, Junior Murvin, Junior Murvin, Junior Murvin.
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.