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 Lithuania and from Hong Kong.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1973.
I'm losing my edge.
To all the kids in Woodstock and Cairo.
I'm losing my edge to the art-school Houston 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 James White and The Blacks to the jazz 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 Little Man. All the underground hits.
All Grandmaster Flash and the Furious Five tracks. I heard you have a vinyl of every Fugazi 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 güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Throbbing Gristle record.
I hear that you and your band have sold your 808 and bought an oboe.
I hear that you and your band have sold your oboe and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Albert Ayler,
Larry & the Blue Notes,
Bootsy's Rubber Band,
Avey Tare,
Anakelly,
Vaughan Mason & Crew,
Peter & Gordon,
Harry Pussy,
Sex Pistols,
Kerrie Biddell,
The Offenders,
Urselle,
Pierre Henry,
EPMD,
Amon Düül,
Faraquet,
Gichy Dan,
Fear,
Fort Wilson Riot,
Circle Jerks,
Loose Ends,
Ken Boothe,
The Doobie Brothers,
Sparks,
Hardrive,
Bobby Hutcherson,
Parry Music,
Davy DMX,
Fluxion,
Marcia Griffiths,
The Chocolate Watch Band,
Public Image Ltd.,
Lower 48,
Kool Moe Dee,
Rahsaan Roland Kirk,
Magazine,
Lizzy Mercier Descloux,
Little Man,
Heaven 17,
The Martian,
Moss Icon,
The Flesh Eaters,
Gang Gang Dance,
Alison Limerick,
the Germs,
Bluetip,
Reuben Wilson,
Wighnomy Brothers & Robag Wruhme,
The Selecter,
Roxy Music,
Boredoms,
B.T. Express,
Marc Romboy vs. Booka Shade,
Altered Images,
Wasted Youth,
London Community Gospel Choir,
Siglo XX,
The Fuzztones,
Royal Trux,
Marmalade, Marmalade, Marmalade, Marmalade.
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.