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 Fiji and from Lagos.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 Tokyo and Tehran.
I'm losing my edge to the art-school Lille 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 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 Offenders to the electroclash 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 The American Breed. All the underground hits.
All Cabaret Voltaire tracks. I heard you have a vinyl of every Camron Feat. Memphis Bleek And Beenie Seigel record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Wolf Eyes record.
I hear that you and your band have sold your marimba and bought a snare.
I hear that you and your band have sold your snare and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anthony Braxton,
Severed Heads,
Aaron Thompson,
Mission of Burma,
Q65,
The Smoke,
These Immortal Souls,
Tomorrow,
The Happenings,
Graham Central Station,
The New Christs,
Sixth Finger,
Audionom,
Fatback Band,
The Names,
Echo & the Bunnymen,
Marine Girls,
Stockholm Monsters,
the Slits,
Amon Düül II,
Von Mondo,
Sunsets and Hearts,
EPMD,
Gabor Szabo,
Jesper Dahlbäck,
Isaac Hayes,
Theoretical Girls,
Bill Wells,
Alton Ellis,
Art Ensemble Of Chicago,
Bush Tetras,
PIL,
The Real Kids,
Mr. Review,
Wighnomy Brothers & Robag Wruhme,
Eve St. Jones,
The West Coast Pop Art Experimental Band,
The Divine Comedy,
the Germs,
The Doobie Brothers,
In Retrospect,
Thompson Twins,
Camouflage,
Intrusion,
Sad Lovers and Giants,
Scion,
Magma,
China Crisis,
Notorious Big And Bone Thugs,
Gerry Rafferty,
Soulsonic Force,
The Moleskins,
Deutsch Amerikanische Freundschaft,
Janne Schatter,
Minny Pops,
Hashim,
The Blues Magoos,
Hardrive,
Alice Coltrane,
Joe Finger,
David McCallum,
Bobby Hutcherson,
World's Most, World's Most, World's Most, World's Most.
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.