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 Kiribati and from Lille.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1978.
I'm losing my edge.
To all the kids in Halifax and Portland.
I'm losing my edge to the art-school Houston 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 spring reverb 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 The Index to the funk kids.
I played it at the Astoria.
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 Sandy B. All the underground hits.
All Yusef Lateef tracks. I heard you have a vinyl of every Gil Scott-Heron & Brian Jackson record on German import.
I heard that you have a white label of every seminal dance 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 mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Jacob Miller record.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Frankie Knuckles,
Morten Harket,
Buzzcocks,
Urselle,
Von Mondo,
Saccharine Trust,
Brick,
Eurythmics,
Sexual Harrassment,
Dennis Brown,
Pete Rock & C.L. Smooth,
Camouflage,
World's Most,
Jacob Miller,
Spandau Ballet,
Andrew Ashong & Theo Parrish,
Audionom,
Lalann,
Brothers Johnson,
The Peanut Butter Conspiracy,
Monolake,
Deutsch Amerikanische Freundschaft,
Gang of Four,
Sunsets and Hearts,
Gian Franco Pienzio,
Erasure,
Notorious BIG live in Amsterdam,
Jeff Lynne,
The Gap Band,
Röyhkä ja Rättö ja Lehtisalo,
The Angels of Light,
Siglo XX,
Y Pants,
Youth Brigade,
Kayak,
Sight & Sound,
K-Klass,
Stiv Bators,
H. Thieme,
Pere Ubu,
Rites of Spring,
The Remains,
The Evens,
Theoretical Girls,
Popol Vuh,
X-101,
Ice-T,
John Coltrane,
Newcleus,
Dark Day,
Electric Light Orchestra,
The Sonics,
The Doors,
In Retrospect,
Public Image Ltd.,
Banda Bassotti,
The Birthday Party,
8 Eyed Spy,
Rotary Connection,
Cameo,
Minnie Riperton,
Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars.
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.