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 Switzerland and from Bologna.
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 1970.
I'm losing my edge.
To all the kids in Shanghai and Paris.
I'm losing my edge to the art-school Hong Kong 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the theremin sounds with much patience.
I was there when Michael McDonald 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 Lindisfarne to the disco 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 The Leaves. All the underground hits.
All The New Christs tracks. I heard you have a vinyl of every Marshall Jefferson record on German import.
I heard that you have a white label of every seminal grunge 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 an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slits,
Mr. Review,
Alice Coltrane,
The Red Krayola,
The Blackbyrds,
Sun Ra,
Spoonie Gee,
The Fuzztones,
Lyres,
Ten City,
DeepChord presents Echospace,
Interpol,
Swans,
Fat Boys,
the Association,
Accadde A,
Lou Reed & John Cale,
Index,
The New Christs,
Bill Wells,
Electric Prunes,
Eyeless In Gaza,
Main Source,
The Litter,
Quantec,
The Selecter,
Howard Jones,
The Young Rascals,
Eli Mardock,
Stockholm Monsters,
The Searchers,
Mary Jane Girls,
The Mummies,
Richard Hell and the Voidoids,
The Pretty Things,
10cc,
World's Most,
Avey Tare & Kría Brekkan,
Ultra Naté,
Moebius,
Country Teasers,
Yaz,
ABC,
The Pop Group,
Clear Light,
Zapp,
Radiopuhelimet,
Johnny Clarke,
E-Dancer,
Unwound,
The Flesh Eaters,
Faust,
Rowland S Howard / Lydia Lunch,
Sound Behaviour,
Excepter,
Von Mondo,
The Fall,
The Index,
Subhumans,
Kevin Saunderson,
Oppenheimer Analysis,
Terror Squad Feat. Camron,
Chris & Cosey, Chris & Cosey, Chris & Cosey, Chris & Cosey.
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.