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 Andorra and from Spokane.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Halifax and Milan.
I'm losing my edge to the art-school Portland 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 Throbbing Gristle practice in a loft in London.
I was working on the clarinet 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 Pylon to the grime kids.
I played it at Trash.
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 Orchestral Manoeuvres in the Dark. All the underground hits.
All Funkadelic tracks. I heard you have a vinyl of every Inner City record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Metal Thangz record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Guru Guru,
Joensuu 1685,
Parry Music,
Alison Limerick,
Bizarre Inc.,
Visage,
Brick,
Graham Central Station,
Ornette Coleman,
The New Christs,
Gabor Szabo,
Dual Sessions,
Gil Scott-Heron & Brian Jackson,
Pussy Galore,
Altered Images,
The Jesus and Mary Chain,
The Gap Band,
Ken Boothe,
Heavy D & The Boyz,
Jesper Dahlback,
Cabaret Voltaire,
The Real Kids,
Sam Rivers,
Fluxion,
Roy Ayers,
Thee Headcoats,
Newcleus,
Andrew Ashong & Theo Parrish,
Barclay James Harvest,
Model 500,
The Knickerbockers,
Joe Smooth,
Amazonics,
K-Klass,
Blossom Toes,
James White and The Blacks,
David Axelrod,
Lou Reed & Metallica,
Soft Machine,
Michelle Simonal,
Flash Fearless,
Nick Fraelich,
Thinking Fellers Union Local 282,
Underground Resistance,
Sunsets and Hearts,
Public Image Ltd.,
Avey Tare,
Boogie Down Productions,
Idris Muhammad,
Eurythmics,
Radio Birdman,
The Men They Couldn't Hang,
Wally Richardson,
Dark Day,
Ash Ra Tempel,
Sixth Finger,
DJ Sneak,
Swell Maps,
The Alarm Clocks,
The Misunderstood,
The Fire Engines,
Boredoms, Boredoms, Boredoms, Boredoms.
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.