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 Laos and from Jakarta.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Beijing.
I'm losing my edge to the art-school Toronto 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 mellotron sounds with much patience.
I was there when Lou Reed 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 the Fania All-Stars to the crunk 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 Sugar Minott. All the underground hits.
All Colin Newman tracks. I heard you have a vinyl of every The Techniques 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 guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Second Layer record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Index,
Tomorrow,
Amon Düül II,
Wasted Youth,
The Mojo Men,
Louis and Bebe Barron,
the Slits,
Steve Hackett,
the Association,
La Düsseldorf,
the Germs,
Bob Dylan,
The Last Poets,
Boredoms,
Panda Bear,
Dead Boys,
the Sonics,
Joyce Sims,
Country Joe & The Fish,
Buzzcocks,
Ponytail,
The Five Americans,
Ken Boothe,
Matthew Bourne,
Talk Talk,
China Crisis,
The Victims,
Marc Almond,
Gong,
The Fall,
cv313,
Y Pants,
Kango’s Stein Massive,
Toni Rubio,
Lou Christie,
Boogie Down Productions,
Intrusion,
Sight & Sound,
Rahsaan Roland Kirk,
Interpol,
Lonnie Liston Smith,
Jesper Dahlbäck,
Lyres,
Delta 5,
Goldenarms,
X-101,
Maurizio,
The Mighty Diamonds,
Nik Kershaw,
Ten City,
Kool G Rap & DJ Polo,
F. McDonald,
Crash Course in Science,
Smog,
Super Lover Cee & Casanova Rud,
Sparks,
James White and The Blacks,
Barclay James Harvest,
The Residents,
A Certain Ratio,
EPMD,
This Heat,
Moss Icon, Moss Icon, Moss Icon, Moss Icon.
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.