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 Uganda and from Calgary.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Shanghai and Milan.
I'm losing my edge to the art-school Madrid 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 Stockholm Monsters to the crunk kids.
I played it at the Roxy.
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 Faraquet. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every Zero Boys record on German import.
I heard that you have a white label of every seminal crunk 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 rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Henry Cow record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faust,
Captain Beefheart & His Magic Band,
Buzzcocks,
Yaz,
Lebanon Hanover,
Tears for Fears,
Laurel Aitken,
The Skatalites,
Ultravox,
The Kinks,
ABC,
Boogie Down Productions,
Gian Franco Pienzio,
Interpol,
Gang Gang Dance,
Vladislav Delay,
KRS-One,
Scott Walker,
Tubeway Army,
Kevin Saunderson,
The Doors,
Dave Gahan,
Roxette,
The Stooges,
Lower 48,
Crash Course in Science,
Liaisons Dangereuses,
Joe Smooth,
the Slits,
The Move,
Stiv Bators,
Peter Gordon & Love of Life Orchestra,
Reagan Youth,
The Standells,
Bauhaus,
The Slits,
Eden Ahbez,
Pharaoh Sanders and the Fire Engines,
Shuggie Otis,
Ronnie Foster,
The Saints,
The Cowsills,
Quadrant,
The Remains,
H. Thieme,
Lyres,
Infiniti,
Sight & Sound,
James Chance & The Contortions,
Aaron Thompson,
Darondo,
The Cramps,
Andrew Hill,
Das Ding,
Cabaret Voltaire,
In Retrospect,
Saccharine Trust,
Gerry Rafferty,
Unrelated Segments,
Monolake,
Ultimate Spinach, Ultimate Spinach, Ultimate Spinach, Ultimate Spinach.
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.