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 Maldives and from Salvador.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Mumbai and Cairo.
I'm losing my edge to the art-school Spokane 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 arpeggiator 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 The Toasters to the jazz kids.
I played it at the 40 Watt.
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 Minny Pops. All the underground hits.
All The Buckinghams tracks. I heard you have a vinyl of every The Kinks record on German import.
I heard that you have a white label of every seminal rap 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 harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Bobbi Humphrey record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Isaac Hayes,
Make Up,
Anthony Braxton,
X-101,
Scion,
Andrew Hill,
Cabaret Voltaire,
The Smiths,
Grandmaster Flash and the Furious Five,
the Soft Cell,
Can,
The Vogues,
Teenage Jesus and the Jerks,
Grauzone,
Gong,
The Real Kids,
The Red Krayola,
The Techniques,
Cybotron,
Funkadelic,
Roger Hodgson,
Gregory Isaacs,
Surgeon,
Eurythmics,
Qualms,
Niagra,
Cal Tjader,
Camberwell Now,
Monks,
Rosa Yemen,
Lee Hazlewood,
Lou Reed & Metallica,
Brothers Johnson,
The Five Americans,
Red Lorry Yellow Lorry,
Boogie Down Productions,
Barry Ungar,
The Skatalites,
Second Layer,
Lindisfarne,
The Star Department,
Rakim,
Neu!,
Flamin' Groovies,
Ten City,
X-Ray Spex,
Radiopuhelimet,
The Saints,
Minnie Riperton,
Sad Lovers and Giants,
The Cosmic Jokers,
Wasted Youth,
Jawbox,
Major Organ And The Adding Machine,
Juan Atkins,
Ice-T,
New York Dolls,
Bizarre Inc.,
Minutemen,
Glambeats Corp.,
Lalo Schifrin,
Joe Finger, Joe Finger, Joe Finger, Joe Finger.
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.