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 Venezuela and from Milan.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Mexico City 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the marimba sounds with much patience.
I was there when Holger Czukay 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 Public Enemy to the dance kids.
I played it at the Hacienda.
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 Super Lover Cee & Casanova Rud. All the underground hits.
All Fugazi tracks. I heard you have a vinyl of every Dark Day record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Kaleidoscope record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Seeds,
Pole,
The Last Poets,
Joyce Sims,
Deutsch Amerikanische Freundschaft,
Blake Baxter,
Crispian St. Peters,
Wire,
Fad Gadget,
Ajijia Myrayebe,
The Searchers,
Scratch Acid,
Pere Ubu,
The Motions,
Arcadia,
Magazine,
Grandmaster Flash and the Furious Five,
The Doors,
Model 500,
Banda Bassotti,
Tears for Fears,
Ultravox,
Donald Byrd,
De La Soul & Jungle Brothers,
Gil Scott-Heron and Jamie xx,
Jesper Dahlbäck,
PIL,
The Detroit Cobras,
The United States of America,
Glenn Branca,
Severed Heads,
Sound Behaviour,
Roger Hodgson,
Bizarre Inc.,
Neu!,
Bang On A Can,
Terror Squad Feat. Camron,
Kurtis Blow,
The Wake,
Reagan Youth,
Fatback Band,
Neil Young & Crazy Horse,
Metal Thangz,
The Alarm Clocks,
JFA,
Tim Buckley,
Freddie Wadling,
Von Mondo,
Crooked Eye,
June of 44,
Harpers Bizarre,
The Index,
the Association,
The Fortunes,
Leonard Cohen,
Index,
Sun Ra,
Rosa Yemen,
Man Eating Sloth,
F. McDonald,
Stereo Dub, Stereo Dub, Stereo Dub, Stereo Dub.
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.