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 Sri Lanka and from Paris.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Beijing and Copenhagen.
I'm losing my edge to the art-school Lagos 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 clarinet sounds with much patience.
I was there when Captain Beefheart 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 Harry Pussy to the grime kids.
I played it at CBGB's.
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 Scratch Acid. All the underground hits.
All Jimmy McGriff tracks. I heard you have a vinyl of every Youth Brigade 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 chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
U.S. Maple,
E-Dancer,
X-101,
Avey Tare & Kría Brekkan,
Yaz,
Johnny Osbourne,
Kerri Chandler,
The New Christs,
Barry Ungar,
Leonard Cohen,
Kaleidoscope,
The West Coast Pop Art Experimental Band,
Michelle Simonal,
John Foxx,
London Community Gospel Choir,
Godley & Creme,
Eve St. Jones,
Kerrie Biddell,
Avey Tare,
The Sisters of Mercy,
Wally Richardson,
the Human League,
Infiniti,
Sixth Finger,
Althea and Donna,
The Gap Band,
Eurythmics,
Ponytail,
Lou Reed & Metallica,
Eli Mardock,
Cymande,
Bluetip,
Matthew Halsall,
Porter Ricks,
Scan 7,
Urselle,
Robert Wyatt,
Accadde A,
Thee Headcoats,
Hasil Adkins,
Liliput,
Boz Scaggs,
Girls At Our Best!,
Rahsaan Roland Kirk,
This Heat,
Warsaw,
Whodini,
Joyce Sims,
Nirvana,
Todd Rundgren,
Sad Lovers and Giants,
Sound Behaviour,
Popol Vuh,
Sun Ra Arkestra,
Cheater Slicks,
Gang Starr,
Arthur Verocai,
The Peanut Butter Conspiracy,
Chrome,
Section 25, Section 25, Section 25, Section 25.
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.