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 Saudi Arabia and from Milan.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 Beijing and Bologna.
I'm losing my edge to the art-school Philadelphia 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 Michael McDonald 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 Sister Nancy to the disco 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 Motorama. All the underground hits.
All The United States of America tracks. I heard you have a vinyl of every Bluetip 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 '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Litter record.
I hear that you and your band have sold your mellotron and bought a guitar.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minnie Riperton,
The Seeds,
Marc Almond,
Dark Day,
Stiv Bators,
Neil Young,
Scion,
Lucky Dragons,
Swans,
Magazine,
The Pop Group,
Deadbeat,
The Standells,
The Monks,
Maurizio,
Ornette Coleman,
Hasil Adkins,
Fear,
The Vogues,
the Association,
Gerry Rafferty,
Heavy D & The Boyz,
Can,
Curtis Mayfield,
ABBA,
Crash Course in Science,
Blossom Toes,
The Flesh Eaters,
John Lydon,
Gary Puckett & The Union Gap,
Slick Rick,
Lalann,
Chris Corsano,
Pet Shop Boys,
Marmalade,
Swell Maps,
Cecil Taylor,
Rhythm & Sound,
Jandek,
John Foxx,
Babytalk,
Pete Rock & C.L. Smooth,
Chris & Cosey,
The Moleskins,
Be Bop Deluxe,
Barclay James Harvest,
Flamin' Groovies,
Grandmaster Flash and the Furious Five,
Radiohead,
Make Up,
Bobby Hutcherson,
The Victims,
E-Dancer,
Hot Snakes,
This Heat,
Ultimate Spinach,
Eden Ahbez,
The Blackbyrds,
Joy Division,
Tropical Tobacco,
Buzzcocks,
Glambeats Corp.,
Thinking Fellers Union Local 282,
48th St. Collective, 48th St. Collective, 48th St. Collective, 48th St. Collective.
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.