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 Gambia and from Madrid.
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 1968 to 1974.
I'm losing my edge.
To all the kids in London and Tokyo.
I'm losing my edge to the art-school Sao Paulo 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the synthesizer sounds with much patience.
I was there when Donald Fagen 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 Swans to the techno kids.
I played it at the Troubador.
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 Music Machine. All the underground hits.
All Camberwell Now tracks. I heard you have a vinyl of every Mr. Review record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Bang On A Can record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funky Four + One,
Robert Görl,
Section 25,
Jerry Gold Smith,
Bootsy's Rubber Band,
Terry Callier,
The Vogues,
Jawbox,
Soulsonic Force,
Gabor Szabo,
Mad Mike,
Jacques Brel,
Popol Vuh,
Eli Mardock,
Rowland S Howard / Lydia Lunch,
De La Soul & Jungle Brothers,
Bobbi Humphrey,
Wally Richardson,
Dual Sessions,
Johnny Clarke,
Ultramagnetic MC's,
Agitation Free,
Roy Ayers Ubiquity,
Gong,
The Martian,
The Pop Group,
Rod Modell,
The Mummies,
Boogie Down Productions,
The Gladiators,
Buzzcocks,
a-ha,
June Days,
Alton Ellis,
The Doobie Brothers,
Iggy Pop,
Tim Buckley,
The Happenings,
La Düsseldorf,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
PIL,
Pylon,
Frankie Knuckles,
Sound Behaviour,
Neil Young & Crazy Horse,
X-Ray Spex,
The Blackbyrds,
Davy DMX,
Sight & Sound,
Gastr Del Sol,
Rahsaan Roland Kirk,
Brand Nubian,
Drive Like Jehu,
Gregory Isaacs,
Robert Wyatt,
Kaleidoscope,
Masters at Work,
Loose Ends,
Subhumans,
Second Layer,
Warsaw,
Surgeon,
Wire, Wire, Wire, Wire.
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.