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 the UAE and from Seoul.
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 1972.
I'm losing my edge.
To all the kids in Accra and Sao Paulo.
I'm losing my edge to the art-school Milan 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the marimba 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 The Zeros to the jazz kids.
I played it at Trash.
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 Ronan. All the underground hits.
All Ponytail tracks. I heard you have a vinyl of every Brand Nubian record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers 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?
Dark Day,
Gary Puckett & The Union Gap,
DJ Sneak,
Arcadia,
Siglo XX,
Robert Hood,
Fifty Foot Hose,
Negative Approach,
Andrew Hill,
Bang on a Can All-Stars,
The Saints,
Blancmange,
Model 500,
Rod Modell,
Make Up,
Radiopuhelimet,
Gil Scott-Heron and Jamie xx,
The Sound,
David Bowie,
Matthew Halsall,
Minnie Riperton,
X-102,
Oneida,
The Tremeloes,
Soft Machine,
Qualms,
Super Lover Cee & Casanova Rud,
Matthew Bourne,
Adolescents,
Captain Beefheart & His Magic Band,
Smog,
Hashim,
Barbara Tucker,
Laurel Aitken,
Jesper Dahlbäck,
The Standells,
Brick,
Sister Nancy,
Loose Ends,
The Dave Clark Five,
The Wake,
Delta 5,
Jeff Mills,
Boogie Down Productions,
Flipper,
Electric Light Orchestra,
Bad Manners,
Rowland S Howard / Lydia Lunch,
Rapeman,
Visionaries,LMNO, T- Love & Iriscience,
James Chance & The Contortions,
Vainqueur,
It's A Beautiful Day,
Eric B and Rakim,
Wasted Youth,
the Human League,
Avey Tare's Slasher Flicks,
Underground Resistance,
The Pop Group, The Pop Group, The Pop Group, The Pop Group.
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.