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 Thailand and from Shanghai.
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 1976.
I'm losing my edge.
To all the kids in London and Milan.
I'm losing my edge to the art-school London 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 1973 at the first Television practice in a loft in New York.
I was working on the 808 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 the Normal to the jazz kids.
I played it at the Roxy.
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 Divine Comedy. All the underground hits.
All Avey Tare's Slasher Flicks tracks. I heard you have a vinyl of every Adolescents record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Music Machine,
Man Eating Sloth,
Jesper Dahlback,
Stockholm Monsters,
Fat Boys,
Scott Walker,
Ice-T,
Fifty Foot Hose,
Pantaleimon,
Toni Rubio,
Swell Maps,
Donald Byrd,
Sun Ra Arkestra,
The Stooges,
Liliput,
Lizzy Mercier Descloux,
The Vogues,
Robert Hood,
Warren Ellis,
Niagra,
Panda Bear,
Alphaville,
Delta 5,
Bootsy Collins,
Eric Copeland,
Alison Limerick,
The Wake,
Kool Moe Dee,
the Bar-Kays,
Joensuu 1685,
Blake Baxter,
Terry Callier,
The Blackbyrds,
The Human League,
Stetsasonic,
Nas,
Sad Lovers and Giants,
Teenage Jesus and the Jerks,
Freddie Wadling,
Stereo Dub,
Avey Tare's Slasher Flicks,
Pere Ubu,
David Axelrod,
Unwound,
Ultramagnetic MC's,
Throbbing Gristle,
The Zeros,
Minor Threat,
Fatback Band,
The Fortunes,
Crash Course in Science,
The Kinks,
The United States of America,
Curtis Mayfield,
Andrew Ashong & Theo Parrish,
The Count Five,
Los Fastidios,
Magma,
Magazine,
Robert Görl,
The Techniques, The Techniques, The Techniques, The Techniques.
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.