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 Niger and from London.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Madrid and Houston.
I'm losing my edge to the art-school Taipei 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 chamberlin 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 Symarip to the techno kids.
I played it at the Troubador.
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 Ultra Naté. All the underground hits.
All Au Pairs tracks. I heard you have a vinyl of every Bang On A Can record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare's Slasher Flicks record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warsaw,
Pierre Henry,
Johnny Clarke,
Roger Hodgson,
Kool G Rap & DJ Polo,
The Count Five,
The Smoke,
Stereo Dub,
Eve St. Jones,
Intrusion,
Animal Collective,
Livin' Joy,
Grauzone,
The Mummies,
The Index,
Tim Buckley,
Kayak,
Excepter,
AZ,
Bootsy's Rubber Band,
The Pop Group,
The Cramps,
Jesper Dahlbäck,
The Star Department,
Hot Snakes,
Lou Reed & John Cale,
Joe Smooth,
Todd Rundgren,
Michelle Simonal,
The Sisters of Mercy,
Freddie Wadling,
Duran Duran,
ABBA,
Kevin Saunderson,
Section 25,
Oblivians,
Jesper Dahlback,
Arab on Radar,
the Germs,
Easy Going,
Frankie Knuckles,
Whodini,
Piero Umiliani,
Bang on a Can All-Stars,
The Walker Brothers,
Kas Product,
Sugar Minott,
Depeche Mode,
Spoonie Gee,
Clear Light,
Pantaleimon,
The Victims,
Buzzcocks,
Hardrive,
Boogie Down Productions,
Japan,
Ohio Players,
The Angels of Light,
Monks,
R.M.O.,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.