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 Georgia and from Delhi.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1961 to 1977.
I'm losing my edge.
To all the kids in Philadelphia and Sao Paulo.
I'm losing my edge to the art-school Bologna 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Jandek to the techno 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 The Selecter. All the underground hits.
All Rekid tracks. I heard you have a vinyl of every Lou Reed & John Cale record on German import.
I heard that you have a white label of every seminal electroclash 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 a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Letta Mbulu,
the Slits,
Bizarre Inc.,
The Slits,
Mars,
Ultimate Spinach,
Unrelated Segments,
The Offenders,
Slave,
Gil Scott-Heron and Jamie xx,
Dr. Dre and Snoop Doggy Dog,
Lafayette Afro Rock Band,
Louis and Bebe Barron,
Shoche,
The Dirtbombs,
Pantytec,
Shuggie Otis,
Stetsasonic,
Lightning Bolt,
Jacques Brel,
Robert Hood,
Byron Stingily,
Average White Band,
Skriet,
Dennis Brown,
Television,
The Saints,
Alison Limerick,
Infiniti,
Blossom Toes,
Popol Vuh,
Country Joe & The Fish,
Lou Reed,
Camberwell Now,
Peter and Kerry,
Ohio Players,
Gary Puckett & The Union Gap,
Radiohead,
Bobby Womack,
Absolute Body Control,
The Star Department,
Bill Wells,
Reuben Wilson,
Lungfish,
Supertramp,
Judy Mowatt,
The Evens,
Aural Exciters,
Jandek,
The Fuzztones,
Yaz,
Funkadelic,
Strawberry Alarm Clock,
Nico,
Idris Muhammad,
Fort Wilson Riot,
Scott Walker + Sunn O))),
X-Ray Spex,
The Moleskins,
H. Thieme, H. Thieme, H. Thieme, H. Thieme.
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.