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 Sweden and from Hong Kong.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Bremen and Stockholm.
I'm losing my edge to the art-school Milan 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 at the first Suicide practice in a loft in New York.
I was working on the güiro 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 Bang On A Can to the dance 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 Absolute Body Control. All the underground hits.
All Tim Buckley tracks. I heard you have a vinyl of every Public Image Ltd. 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 '70s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a New Order record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magma,
Sister Nancy,
Minnie Riperton,
Black Moon,
The Slits,
Ralphi Rosario,
EPMD,
Anakelly,
Gregory Isaacs,
U.S. Maple,
Smog,
Marmalade,
10cc,
Harpers Bizarre,
Whodini,
Gastr Del Sol,
Nico,
Index,
Lalo Schifrin,
Delta 5,
The Beau Brummels,
F. McDonald,
The West Coast Pop Art Experimental Band,
DNA,
Moss Icon,
Loose Ends,
Kayak,
Pagans,
Barry Ungar,
Mandrill,
Ronnie Foster,
Popol Vuh,
Isaac Hayes,
The Techniques,
Lightning Bolt,
B.T. Express,
Gian Franco Pienzio,
Mary Jane Girls,
Qualms,
The Modern Lovers,
Marc Almond,
Wighnomy Brothers & Robag Wruhme,
X-101,
Wasted Youth,
Lou Christie,
Japan,
Lizzy Mercier Descloux,
Essential Logic,
Max Romeo,
Neil Young & Crazy Horse,
Sam Rivers,
the Swans,
The Gap Band,
Visionaries,LMNO, T- Love & Iriscience,
Ornette Coleman,
Selector Dub Narcotic,
Massinfluence,
The Mojo Men,
The Selecter,
Tim Buckley,
Jeff Lynne,
Faust, Faust, Faust, Faust.
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.