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 Somalia and from Taipei.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Calgary 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 güiro sounds with much patience.
I was there when Robert Palmer 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 Barbara Tucker to the rock kids.
I played it at the Roxy.
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 Art Ensemble Of Chicago. All the underground hits.
All Faust tracks. I heard you have a vinyl of every The Selecter 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 '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quadrant,
Throbbing Gristle,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Pete Rock & C.L. Smooth,
Dennis Brown,
Fear,
Tim Buckley,
The Sonics,
John Holt,
Massinfluence,
the Normal,
Flipper,
Sparks,
Drexciya,
Piero Umiliani,
John Lydon,
Rowland S Howard / Lydia Lunch,
Lizzy Mercier Descloux,
U.S. Maple,
Peter & Gordon,
Steve Hackett,
Deakin,
The Detroit Cobras,
The Index,
The Names,
Masters at Work,
Letta Mbulu,
The Sisters of Mercy,
Roger Hodgson,
FM Einheit,
Boz Scaggs,
Hasil Adkins,
The Grass Roots,
F. McDonald,
The Mummies,
Cal Tjader,
Jesper Dahlbäck,
Monks,
Banda Bassotti,
The Sound,
Michelle Simonal,
Althea and Donna,
Eddi Front,
Eyeless In Gaza,
MC5,
The Last Poets,
Interpol,
The American Breed,
The West Coast Pop Art Experimental Band,
Marine Girls,
Cluster,
Magma,
Roy Ayers Ubiquity,
Freddie Wadling,
Smog,
John Foxx,
Warsaw,
Lou Reed & Metallica,
Nirvana,
The Mighty Diamonds,
Barrington Levy,
Ultra Naté,
Amon Düül II, Amon Düül II, Amon Düül II, Amon Düül II.
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.