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 Costa Rica and from Copenhagen.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Madrid.
I'm losing my edge to the art-school Tehran 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 Art of Noise practice in a loft in London.
I was working on the chamberlin 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 Andrew Ashong & Theo Parrish to the disco 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 Tomorrow. All the underground hits.
All Cecil Taylor tracks. I heard you have a vinyl of every EPMD 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 '60s cut and another box set from the '90s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Quadrant record.
I hear that you and your band have sold your clarinet and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terrestrial Tones,
David Axelrod,
The United States of America,
Ronnie Foster,
The Dead C,
KRS-One,
Funkadelic,
Thinking Fellers Union Local 282,
Tommy Roe,
ABC,
Wings,
Jawbox,
Radiohead,
Red Lorry Yellow Lorry,
Popol Vuh,
Yellowson,
Sex Pistols,
Gil Scott Heron,
Public Image Ltd.,
Bill Near,
Toni Rubio,
Angels of Light & Akron/Family,
June of 44,
Stiv Bators,
Saccharine Trust,
Eddi Front,
Cybotron,
Japan,
The Pop Group,
Jimmy McGriff,
The Gladiators,
Erasure,
Glenn Branca,
Flamin' Groovies,
Larry & the Blue Notes,
Kas Product,
Teenage Jesus and the Jerks,
Make Up,
Spoonie Gee,
Joe Smooth,
Schoolly D,
Mary Jane Girls,
Siglo XX,
Index,
Andrew Hill,
Michelle Simonal,
Vladislav Delay,
The Fire Engines,
The Evens,
Iggy Pop,
Reuben Wilson,
JFA,
Alphaville,
Unrelated Segments,
The Stooges,
Sunsets and Hearts,
The Smoke,
Chrome,
The Names,
Roger Hodgson,
Hot Snakes,
Easy Going,
Unwound,
Sandy B, Sandy B, Sandy B, Sandy B.
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.