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 Senegal and from Beijing.
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 New York and Tokyo.
I'm losing my edge to the art-school Bremen 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the 808 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 Max Romeo to the electroclash kids.
I played it at the Spitz.
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 Harmonia. All the underground hits.
All Scion tracks. I heard you have a vinyl of every The Walker Brothers record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sparks,
Idris Muhammad,
Index,
Mandrill,
Röyhkä ja Rättö ja Lehtisalo,
John Coltrane,
The Grass Roots,
Country Joe & The Fish,
Ronnie Foster,
Alice Coltrane,
Malaria!,
Television,
Captain Beefheart & His Magic Band,
Wighnomy Brothers & Robag Wruhme,
Big Daddy Kane,
The Seeds,
Simply Red,
Bizarre Inc.,
PIL,
Matthew Halsall,
Mad Mike,
Alphaville,
Skaos,
Essential Logic,
Kaleidoscope,
The Royal Family And The Poor,
Main Source,
The Golliwogs,
Cybotron,
The Walker Brothers,
The Modern Lovers,
Sun Ra,
Make Up,
Hot Snakes,
Sly & The Family Stone,
The Cowsills,
Scion,
Young Marble Giants,
Dorothy Ashby,
Eric Dolphy,
Slave,
Fatback Band,
Lou Reed,
Scan 7,
Soul Sonic Force,
Colin Newman,
Man Eating Sloth,
Blossom Toes,
Sällskapet,
Jawbox,
Eve St. Jones,
MDC,
Blake Baxter,
Roxy Music,
Stockholm Monsters,
Roy Ayers Ubiquity,
Leonard Cohen,
The West Coast Pop Art Experimental Band,
The Gun Club,
Zapp,
Pagans,
Pulsallama, Pulsallama, Pulsallama, Pulsallama.
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.