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 Malta and from Houston.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Taipei and Milan.
I'm losing my edge to the art-school Beijing 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 Lewis practice in a loft in Vancouver.
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 Mark Hollis to the electroclash kids.
I played it at Cafe Wha.
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 The Standells. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every Los Fastidios 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 '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Grauzone record.
I hear that you and your band have sold your clarinet and bought an organ.
I hear that you and your band have sold your organ and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Eating Sloth,
Bobby Byrd,
The Selecter,
The Sound,
Sex Pistols,
Agitation Free,
Faust,
Fear,
Second Layer,
The Techniques,
Black Bananas,
Moebius,
Selector Dub Narcotic,
Accadde A,
Mandrill,
Glambeats Corp.,
Kool G Rap & DJ Polo,
Camberwell Now,
Alice Coltrane,
Kas Product,
Technova,
The Seeds,
Godley & Creme,
Brothers Johnson,
Eric Dolphy,
ABBA,
Newcleus,
The Tremeloes,
Brass Construction,
Oppenheimer Analysis,
Steve Hackett,
Sällskapet,
The Leaves,
Saccharine Trust,
H. Thieme,
T. Rex,
Crooked Eye,
The Fire Engines,
Oneida,
Warsaw,
Pete Rock & C.L. Smooth,
Heavy D & The Boyz,
The Saints,
Thee Headcoats,
Derrick Morgan,
The Mummies,
Scott Walker,
Radiopuhelimet,
Ralphi Rosario,
Chrome,
Masters at Work,
Funky Four + One,
In Retrospect,
Supertramp,
Wire,
Black Sheep,
Deutsch Amerikanische Freundschaft,
Livin' Joy,
Tears for Fears,
Jeff Mills,
Colin Newman,
Guru Guru,
Cecil Taylor,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.