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 Liechtenstein and from Toronto.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Tokyo and Stockholm.
I'm losing my edge to the art-school Beijing 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 oboe 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 the Association to the grunge kids.
I played it at the Astoria.
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 Albert Ayler. All the underground hits.
All UT tracks. I heard you have a vinyl of every Bootsy's Rubber Band 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 '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Cowsills record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare & Kría Brekkan,
Scratch Acid,
Matthew Halsall,
Average White Band,
The Star Department,
Bill Wells,
Arab on Radar,
Pulsallama,
Joensuu 1685,
Byron Stingily,
Jawbox,
Wasted Youth,
The Tremeloes,
Deakin,
Can,
Super Lover Cee & Casanova Rud,
Surgeon,
The Young Rascals,
Yazoo,
Eurythmics,
Joe Finger,
Kool G Rap & DJ Polo,
Visage,
Sällskapet,
Roxette,
Crispy Ambulance,
F. McDonald,
Au Pairs,
Eve St. Jones,
Bang on a Can All-Stars,
Bush Tetras,
The Flesh Eaters,
Rahsaan Roland Kirk,
Jesper Dahlback,
Man Parrish,
Kool Moe Dee,
Sound Behaviour,
Kenny Larkin,
Crime,
Gerry Rafferty,
Con Funk Shun,
Alphaville,
Brothers Johnson,
Grey Daturas,
Danielle Patucci,
Newcleus,
Main Source,
The Alarm Clocks,
R.M.O.,
Maleditus Sound,
Clear Light,
Gastr Del Sol,
John Cale,
Rowland S Howard / Lydia Lunch,
Zero Boys,
ABBA,
Stockholm Monsters,
Be Bop Deluxe,
Arthur Verocai,
Thee Headcoats,
Fatback Band,
Television Personalities,
Hardrive,
The Remains, The Remains, The Remains, The Remains.
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.