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 Cuba and from Beijing.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Winnipeg and Paris.
I'm losing my edge to the art-school Seoul 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 chamberlin sounds with much patience.
I was there when Lou Reed 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 Pharoah Sanders to the crunk kids.
I played it at the Roxy.
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 Q65. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Byron Stingily record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Tim Buckley record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
LL Cool J,
Hoover,
Tomorrow,
X-102,
The J.B.'s,
Khruangbin,
Man Parrish,
The Motions,
Todd Rundgren,
Blake Baxter,
Kauko Röyhkä ja Narttu,
Thinking Fellers Union Local 282,
Icehouse,
Ten City,
The Zeros,
JFA,
Rotary Connection,
Spoonie Gee,
The Walker Brothers,
John Coltrane,
Anthony Braxton,
Prince Buster,
The Flesh Eaters,
Eurythmics,
Sällskapet,
China Crisis,
Cheater Slicks,
Ronnie Foster,
Robert Wyatt,
Peter & Gordon,
B.T. Express,
Bobby Womack,
the Human League,
Little Man,
Johnny Clarke,
Yazoo,
The Red Krayola,
Kango’s Stein Massive,
This Heat,
Depeche Mode,
Judy Mowatt,
Gong,
Albert Ayler,
Talk Talk,
the Swans,
Darondo,
Orchestral Manoeuvres in the Dark,
Mo-Dettes,
Ice-T,
Ash Ra Tempel,
The Litter,
Thompson Twins,
Country Joe & The Fish,
EPMD,
Bush Tetras,
Harry Pussy,
Public Image Ltd.,
Jeru the Damaja,
The Birthday Party,
World's Most,
Newcleus,
Lower 48, Lower 48, Lower 48, Lower 48.
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.