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 Nepal and from Taipei.
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 1972.
I'm losing my edge.
To all the kids in Copenhagen and Johannesburg.
I'm losing my edge to the art-school New York 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 guitar sounds with much patience.
I was there when Tom Verlaine 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 James White and The Blacks to the punk kids.
I played it at the Hacienda.
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 Bootsy Collins. All the underground hits.
All Junior Murvin tracks. I heard you have a vinyl of every Sun Ra Arkestra record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy's Rubber Band record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stetsasonic,
Chris Corsano,
Anthony Braxton,
Tears for Fears,
The Names,
Anakelly,
DJ Sneak,
Avey Tare's Slasher Flicks,
Tommy Roe,
the Association,
Marc Almond,
The Cowsills,
Harmonia,
Rekid,
New York Dolls,
Piero Umiliani,
The Moody Blues,
kango's stein massive,
Trumans Water,
Television Personalities,
Von Mondo,
Pete Rock & C.L. Smooth,
The Mummies,
Buzzcocks,
Grauzone,
Matthew Bourne,
Freddie Wadling,
Little Man,
Kings Of Tomorrow,
Radiopuhelimet,
Guru Guru,
Bang on a Can All-Stars,
Bang On A Can,
Eden Ahbez,
The Electric Prunes,
the Germs,
Marcia Griffiths,
Colin Newman,
Sparks,
Audionom,
Organ,
Boredoms,
Bobbi Humphrey,
Amazonics,
Dorothy Ashby,
Desert Stars,
Aaron Thompson,
Ohio Players,
Quantec,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Gerry Rafferty,
K-Klass,
Suicide,
Bronski Beat,
Johnny Osbourne,
Mark Hollis,
The J.B.'s,
Tres Demented,
The Divine Comedy,
Alton Ellis,
Grey Daturas,
Judy Mowatt,
Stereo Dub, Stereo Dub, Stereo Dub, Stereo Dub.
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.