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 Philippines and from Johannesburg.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1963 to 1971.
I'm losing my edge.
To all the kids in Beijing and Copenhagen.
I'm losing my edge to the art-school Sao Paulo 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 sitar 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 Drive Like Jehu to the funk 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 Tomorrow. All the underground hits.
All Sarah Menescal tracks. I heard you have a vinyl of every Roger Hodgson 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 '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jawbox,
Lizzy Mercier Descloux,
the Human League,
Quando Quango,
Justin Hinds & The Dominoes,
Fad Gadget,
Kaleidoscope,
World's Most,
Nick Cave & The Bad Seeds,
Bush Tetras,
Little Man,
JFA,
Tim Buckley,
X-Ray Spex,
Ken Boothe,
Skarface,
Janne Schatter,
Visage,
Minor Threat,
Grey Daturas,
Todd Terry,
Goldenarms,
Circle Jerks,
Cal Tjader,
Bobby Sherman,
Groovy Waters,
Wolf Eyes,
David Bowie,
Rhythm & Sound,
Fear,
Soft Cell,
Orchestral Manoeuvres in the Dark,
Make Up,
Albert Ayler,
The Associates,
H. Thieme,
Faraquet,
The Skatalites,
Monolake,
Erykah Badu,
Ash Ra Tempel,
Ituana,
Nico,
Peter & Gordon,
Hasil Adkins,
Gichy Dan,
Aswad,
Moby Grape,
Brass Construction,
Rahsaan Roland Kirk,
The Chocolate Watch Band,
Larry & the Blue Notes,
Nils Olav,
Moebius,
T.S.O.L.,
John Holt,
Marmalade,
Can,
Radiopuhelimet,
Aaron Thompson,
Unrelated Segments,
The Barracudas,
Sällskapet, Sällskapet, Sällskapet, Sällskapet.
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.