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 Guatemala and from Houston.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Shanghai and London.
I'm losing my edge to the art-school Johannesburg 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 Mistral practice in a loft in Amsterdam.
I was working on the clarinet 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 Sun City Girls to the grime kids.
I played it at the Crocodile.
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 Marine Girls. All the underground hits.
All Peter and Kerry tracks. I heard you have a vinyl of every Barry Ungar 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 '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Motions record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Panda Bear,
Sex Pistols,
Scientists,
Ultravox,
Soft Machine,
Terror Squad Feat. Camron,
Alton Ellis,
FM Einheit,
Unrelated Segments,
Camron Feat. Memphis Bleek And Beenie Seigel,
Interpol,
Siglo XX,
Tim Buckley,
Cameo,
The Toasters,
Judy Mowatt,
Ohio Players,
World's Most,
Agitation Free,
Camouflage,
The Gap Band,
John Cale,
Rekid,
Mad Mike,
Josef K,
Patti Smith,
Pharoah Sanders,
Röyhkä ja Rättö ja Lehtisalo,
Soul Sonic Force,
Visage,
Tropical Tobacco,
Mr. Review,
The Neon Judgement,
Connie Case,
Marmalade,
Kerri Chandler,
Gary Puckett & The Union Gap,
JFA,
Wolf Eyes,
Zapp,
Au Pairs,
The Gories,
James Chance & The Contortions,
Leonard Cohen,
Dawn Penn,
Blancmange,
The Real Kids,
Man Parrish,
Crispian St. Peters,
The Happenings,
The Peanut Butter Conspiracy,
Moby Grape,
Bang On A Can,
Lebanon Hanover,
Yellowson,
Rufus Thomas,
The Detroit Cobras,
The Residents,
Essential Logic,
The Mummies,
Chris & Cosey,
Grauzone,
Banda Bassotti,
Quando Quango, Quando Quango, Quando Quango, Quando Quango.
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.