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 Haiti and from Beijing.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1970.
I'm losing my edge.
To all the kids in Lille and Sao Paulo.
I'm losing my edge to the art-school Mexico City 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 theremin sounds with much patience.
I was there when Lou Reed 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 CMW to the punk 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 Danielle Patucci. All the underground hits.
All Little Man tracks. I heard you have a vinyl of every Pylon record on German import.
I heard that you have a white label of every seminal funk 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 sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Agent Orange record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lalo Schifrin,
Skarface,
The Moleskins,
ABBA,
Dark Day,
The New Christs,
Piero Umiliani,
Bronski Beat,
Model 500,
Bob Dylan,
The Mojo Men,
Tomorrow,
The Star Department,
Kango’s Stein Massive,
Terrestrial Tones,
The Durutti Column,
Reagan Youth,
Lee Hazlewood,
Ituana,
Moebius,
Sad Lovers and Giants,
Metal Thangz,
Fela Kuti,
Tim Buckley,
Jacob Miller,
Japan,
The Detroit Cobras,
Cal Tjader,
The Music Machine,
The Electric Prunes,
Lakeside,
Surgeon,
The West Coast Pop Art Experimental Band,
Underground Resistance,
The Grass Roots,
Intrusion,
Roy Ayers Ubiquity,
X-101,
The Modern Lovers,
Pete Rock & C.L. Smooth,
Barclay James Harvest,
Notorious BIG live in Amsterdam,
kango's stein massive,
Minutemen,
Marvin Gaye,
Jerry's Kids,
Neil Young,
The Five Americans,
Roxette,
June of 44,
Davy DMX,
Excepter,
Charles Mingus,
Rites of Spring,
Mr. Review,
The Litter,
Eve St. Jones,
Marine Girls,
Spoonie Gee,
Lou Reed,
Rotary Connection, Rotary Connection, Rotary Connection, Rotary Connection.
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.