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 Sao Paulo.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1977.
I'm losing my edge.
To all the kids in Winnipeg and Bologna.
I'm losing my edge to the art-school Mumbai 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 mellotron 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 Jesper Dahlbäck 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 Pere Ubu. All the underground hits.
All Symarip tracks. I heard you have a vinyl of every Rosa Yemen record on German import.
I heard that you have a white label of every seminal funk 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 oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a the Swans record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Red Lorry Yellow Lorry,
June of 44,
Radiohead,
Peter & Gordon,
Quando Quango,
Franke,
Infiniti,
Susan Cadogan,
The Five Americans,
Man Parrish,
The Busters,
Khruangbin,
Scott Walker + Sunn O))),
The Mojo Men,
Minnie Riperton,
The Cure,
B.T. Express,
David Bowie,
Fat Boys,
Skriet,
Mr. Review,
The Raincoats,
Morten Harket,
The Names,
Harmonia,
Camberwell Now,
Spoonie Gee,
Rod Modell,
These Immortal Souls,
Connie Case,
The Evens,
Sixth Finger,
Joyce Sims,
Warsaw,
It's A Beautiful Day,
Leonard Cohen,
Cameo,
Bush Tetras,
Bronski Beat,
Orchestral Manoeuvres in the Dark,
Aural Exciters,
Lindisfarne,
Cecil Taylor,
Dual Sessions,
Agitation Free,
Pharaoh Sanders and the Fire Engines,
Metal Thangz,
Marc Romboy vs. Booka Shade,
The Toasters,
Little Man,
Deutsch Amerikanische Freundschaft,
Avey Tare's Slasher Flicks,
Robert Hood,
Sugar Minott,
Bobby Womack,
Grandmaster Flash,
Kurtis Blow,
Public Enemy, Public Enemy, Public Enemy, Public Enemy.
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.