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 Vietnam and from Johannesburg.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Lyon and Portland.
I'm losing my edge to the art-school Salvador 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Sun City Girls to the crunk kids.
I played it at the Troubador.
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 Malaria!. All the underground hits.
All China Crisis tracks. I heard you have a vinyl of every Can record on German import.
I heard that you have a white label of every seminal jazz 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 chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dark Day,
Marc Almond,
Jerry's Kids,
Gang Gang Dance,
Symarip,
F. McDonald,
Henry Cow,
The Index,
Television Personalities,
Main Source,
Bobby Byrd,
Boz Scaggs,
Cluster,
Porter Ricks,
David Axelrod,
Davy DMX,
Nation of Ulysses,
Lungfish,
Sarah Menescal,
Rosa Yemen,
Maurizio,
The Alarm Clocks,
Pet Shop Boys,
The Human League,
X-101,
Motorama,
Andrew Ashong & Theo Parrish,
The J.B.'s,
Big Daddy Kane,
Minny Pops,
The Happenings,
Rakim,
Sight & Sound,
Crash Course in Science,
Idris Muhammad,
Stockholm Monsters,
Oppenheimer Analysis,
Guru Guru,
The New Christs,
Fugazi,
Japan,
Scratch Acid,
Tomorrow,
Manfred Mann's Earth Band,
Peter and Kerry,
The Fall,
Kauko Röyhkä ja Narttu,
Bang On A Can,
Matthew Bourne,
Robert Wyatt,
La Düsseldorf,
Q65,
Jesper Dahlback,
Organ,
Sexual Harrassment,
Chris & Cosey,
Robert Görl,
Erykah Badu,
Echospace,
Funkadelic,
Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars.
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.