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 Malaysia and from Sao Paulo.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Stockholm and Calgary.
I'm losing my edge to the art-school Stockholm 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the 808 sounds with much patience.
I was there when Nile Rodgers 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 Move to the grunge kids.
I played it at Cafe Wha.
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 Magazine. All the underground hits.
All Bang On A Can tracks. I heard you have a vinyl of every Urselle record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Ponytail record.
I hear that you and your band have sold your 808 and bought a 808.
I hear that you and your band have sold your 808 and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Litter,
The Dirtbombs,
Magazine,
Mars,
The Fall,
Livin' Joy,
Stockholm Monsters,
Rapeman,
Robert Hood,
The Gories,
Lou Reed & Metallica,
The Alarm Clocks,
Bootsy Collins,
The United States of America,
Absolute Body Control,
Amon Düül II,
Bootsy's Rubber Band,
Tim Buckley,
Barclay James Harvest,
Mandrill,
Albert Ayler,
Fluxion,
Byron Stingily,
the Soft Cell,
The Wake,
Radiohead,
Radio Birdman,
Swans,
Motorama,
48th St. Collective,
Harry Pussy,
Deakin,
The Beau Brummels,
John Coltrane,
Lalann,
Slick Rick,
Boogie Down Productions,
Kas Product,
Theoretical Girls,
Sonny Sharrock,
The Zeros,
Bobbi Humphrey,
R.M.O.,
Aswad,
Isaac Hayes,
Aural Exciters,
Shoche,
Delon & Dalcan,
Hashim,
Public Image Ltd.,
Inner City,
Susan Cadogan,
The Moleskins,
Lou Reed & John Cale,
The Count Five,
Camberwell Now,
Q65,
Au Pairs,
Das Ding,
Rod Modell,
Siouxsie and the Banshees,
Chris & Cosey, Chris & Cosey, Chris & Cosey, Chris & Cosey.
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.