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 Nigeria 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 1964 to 1970.
I'm losing my edge.
To all the kids in Jakarta and Paris.
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 1976 at the first Chic practice in a loft in New York.
I was working on the spring reverb sounds with much patience.
I was there when Holger Czukay 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 Quando Quango to the funk 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 The Last Poets. All the underground hits.
All the Soft Cell tracks. I heard you have a vinyl of every Michelle Simonal record on German import.
I heard that you have a white label of every seminal grime 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 guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scientists,
Silicon Teens,
Glenn Branca,
The Remains,
Red Lorry Yellow Lorry,
Mad Mike,
The Men They Couldn't Hang,
Idris Muhammad,
Hasil Adkins,
Captain Beefheart & His Magic Band,
Stetsasonic,
Siouxsie and the Banshees,
Alice Coltrane,
The Offenders,
Neu!,
Hashim,
The Alarm Clocks,
Soft Cell,
Gregory Isaacs,
Marvin Gaye,
Deakin,
Wally Richardson,
Barry Ungar,
Matthew Bourne,
Qualms,
Louis and Bebe Barron,
Chris Corsano,
The Gap Band,
Loose Ends,
Minnie Riperton,
Robert Wyatt,
Gang Green,
Mary Jane Girls,
Eddi Front,
Thinking Fellers Union Local 282,
Siglo XX,
Oppenheimer Analysis,
Grandmaster Flash,
Ralphi Rosario,
the Swans,
CMW,
Bang On A Can,
The Zeros,
Infiniti,
K-Klass,
Country Joe & The Fish,
T. Rex,
Wasted Youth,
Suicide,
Con Funk Shun,
Moebius,
Mission of Burma,
Altered Images,
UT,
Throbbing Gristle,
It's A Beautiful Day,
The Invisible,
Mark Hollis,
Dawn Penn,
Ultra Naté,
Art Ensemble Of Chicago,
Eve St. Jones,
The Star Department,
Zapp, Zapp, Zapp, Zapp.
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.