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 Estonia and from Toronto.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Shanghai and New York.
I'm losing my edge to the art-school Lille 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the oboe 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 Hashim to the grunge kids.
I played it at the 40 Watt.
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 DJ Sneak. All the underground hits.
All Interpol tracks. I heard you have a vinyl of every John Holt 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 '50s cut and another box set from the '70s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Bad Manners record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeff Mills,
The Martian,
Adolescents,
Jeff Lynne,
T. Rex,
Cybotron,
Flash Fearless,
Pantaleimon,
Man Eating Sloth,
KRS-One,
Robert Hood,
Urselle,
Moss Icon,
The Detroit Cobras,
Circle Jerks,
Pussy Galore,
Technova,
Manfred Mann's Earth Band,
Panda Bear,
James White and The Blacks,
Neu!,
Alison Limerick,
The Seeds,
John Cale,
Negative Approach,
Mars,
Rahsaan Roland Kirk,
the Association,
Heaven 17,
Fluxion,
Andrew Hill,
Organ,
Kerri Chandler,
Model 500,
Dual Sessions,
Mandrill,
Hashim,
Country Teasers,
Country Joe & The Fish,
Terrestrial Tones,
Mission of Burma,
The Doobie Brothers,
Agent Orange,
The Index,
Josef K,
Marcia Griffiths,
Sarah Menescal,
The Buckinghams,
Funky Four + One,
Young Marble Giants,
a-ha,
Goldenarms,
X-Ray Spex,
Pet Shop Boys,
Lower 48,
The Misunderstood,
Cymande,
Marmalade,
Grauzone,
Frankie Knuckles,
Excepter,
Janne Schatter,
Peter & Gordon,
Das Ding, Das Ding, Das Ding, Das Ding.
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.