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 Laos and from Shanghai.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Paris and Mexico City.
I'm losing my edge to the art-school Bologna 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 rhodes 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 Grandmaster Flash and the Furious Five to the crunk 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 Ludus. All the underground hits.
All Outsiders tracks. I heard you have a vinyl of every Marc Almond record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Basic Channel record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Newcleus,
Mr. Review,
Jacques Brel,
Moss Icon,
Rahsaan Roland Kirk,
These Immortal Souls,
Josef K,
Sad Lovers and Giants,
Harpers Bizarre,
The Cramps,
Tomorrow,
Sun Ra Arkestra,
Faust,
Soulsonic Force,
The Fire Engines,
The Move,
Electric Light Orchestra,
Whodini,
Tubeway Army,
Janne Schatter,
Alison Limerick,
The Gap Band,
Main Source,
Lonnie Liston Smith,
Amon Düül II,
John Holt,
Robert Hood,
Lou Reed,
Sällskapet,
Spoonie Gee,
In Retrospect,
Liliput,
Howard Jones,
The Cosmic Jokers,
Sonny Sharrock,
Heaven 17,
Kango’s Stein Massive,
Quadrant,
Brand Nubian,
Pharaoh Sanders and the Fire Engines,
De La Soul & Jungle Brothers,
Althea and Donna,
Au Pairs,
Thee Headcoats,
Zapp,
Chrome,
Sound Behaviour,
ABC,
Gian Franco Pienzio,
Kings Of Tomorrow,
The Beau Brummels,
Franke,
Pete Rock & C.L. Smooth,
Television Personalities,
The Moleskins,
Panda Bear,
Gregory Isaacs,
Ronan,
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.