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 Kenya and from Bremen.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Winnipeg and Shanghai.
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 Bronski Beat practice in a loft in Brixton.
I was working on the arpeggiator 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 Deakin to the jazz kids.
I played it at the Roxy.
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 Gories. All the underground hits.
All Rosa Yemen tracks. I heard you have a vinyl of every DJ Style record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Ashong & Theo Parrish record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Loose Ends,
Wire,
Sonic Youth,
Sad Lovers and Giants,
Tubeway Army,
The Peanut Butter Conspiracy,
Model 500,
Pere Ubu,
Connie Case,
Joey Negro,
The Cosmic Jokers,
Technova,
Piero Umiliani,
Agent Orange,
The Sonics,
Nirvana,
Pole,
Kings Of Tomorrow,
the Association,
The Invisible,
Can,
Vainqueur,
T. Rex,
The Modern Lovers,
Johnny Osbourne,
The Music Machine,
Michelle Simonal,
Goldenarms,
The Velvet Underground,
The Fugs,
Mars,
Matthew Halsall,
Mo-Dettes,
Wasted Youth,
Arcadia,
Electric Light Orchestra,
Scratch Acid,
Essential Logic,
the Germs,
Nils Olav,
Harmonia,
Sly & The Family Stone,
Average White Band,
The Angels of Light,
Crooked Eye,
Lonnie Liston Smith,
Pharaoh Sanders and the Fire Engines,
La Düsseldorf,
Byron Stingily,
The United States of America,
Rites of Spring,
Joe Finger,
Deepchord,
Man Parrish,
Duran Duran,
Jerry's Kids,
Rapeman,
Altered Images,
Sixth Finger,
The Star Department,
Eve St. Jones,
Blake Baxter, Blake Baxter, Blake Baxter, Blake Baxter.
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.