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 Ethiopia and from Lyon.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Columbus and Mumbai.
I'm losing my edge to the art-school Columbus 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the sitar 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 Mary Jane Girls to the rap kids.
I played it at Trash.
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 Deutsch Amerikanische Freundschaft. All the underground hits.
All Neu! tracks. I heard you have a vinyl of every Pierre Henry record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Ash Ra Tempel record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sparks,
Peter & Gordon,
Deakin,
UT,
48th St. Collective,
Tomorrow,
Bang on a Can All-Stars,
Groovy Waters,
The Toasters,
Tears for Fears,
Big Daddy Kane,
Nas,
Radiopuhelimet,
Pagans,
Lebanon Hanover,
Wire,
Eric B and Rakim,
The Motions,
London Community Gospel Choir,
The Divine Comedy,
Kerrie Biddell,
Black Pus,
Lafayette Afro Rock Band,
It's A Beautiful Day,
Siouxsie and the Banshees,
Stiv Bators,
Tropical Tobacco,
Pete Rock & C.L. Smooth,
the Fania All-Stars,
Deadbeat,
Gil Scott Heron,
Public Image Ltd.,
Ohio Players,
Minnie Riperton,
Interpol,
The Slits,
John Coltrane,
Lucky Dragons,
Qualms,
Dawn Penn,
R.M.O.,
Barclay James Harvest,
The Black Dice,
The Misunderstood,
Dennis Brown,
Liaisons Dangereuses,
Gang Green,
Darondo,
the Normal,
Joey Negro,
The Alarm Clocks,
Susan Cadogan,
Avey Tare's Slasher Flicks,
The Sonics,
Fifty Foot Hose,
In Retrospect,
Nik Kershaw,
Soft Machine,
Cymande,
Scott Walker + Sunn O))),
Moebius,
cv313,
The Sound,
Brand Nubian, Brand Nubian, Brand Nubian, Brand Nubian.
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.