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 Tunisia and from Accra.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Accra and Salvador.
I'm losing my edge to the art-school Toronto 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 snare sounds with much patience.
I was there when Tom Verlaine 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 Cecil Taylor to the grime 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 Marc Almond. All the underground hits.
All Robert Hood tracks. I heard you have a vinyl of every Gerry Rafferty record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an oboe and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Mighty Diamonds record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sunsets and Hearts,
Jeru the Damaja,
Marshall Jefferson,
kango's stein massive,
The Associates,
The Last Poets,
Kenny Larkin,
The United States of America,
Graham Central Station,
Joe Smooth,
the Swans,
Chris Corsano,
The Kinks,
The Men They Couldn't Hang,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Kings Of Tomorrow,
Pierre Henry,
Bang On A Can,
Vladislav Delay,
Flipper,
Cabaret Voltaire,
Gil Scott Heron,
Eli Mardock,
Cymande,
Ralphi Rosario,
Television,
The West Coast Pop Art Experimental Band,
Yazoo,
The Motions,
Hoover,
Bill Wells,
Maleditus Sound,
Ituana,
London Community Gospel Choir,
Zapp,
The Pretty Things,
Banda Bassotti,
The Victims,
X-102,
Susan Cadogan,
Henry Cow,
Symarip,
Scientists,
Guru Guru,
Jacques Brel,
Black Flag,
Lindisfarne,
48th St. Collective,
Smog,
La Düsseldorf,
Parry Music,
Delon & Dalcan,
Cluster,
Man Eating Sloth,
The Techniques,
UT,
Electric Prunes,
The Fire Engines,
the Sonics,
Youth Brigade,
Terry Callier,
Crooked Eye,
PIL, PIL, PIL, PIL.
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.