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 Colombia and from Woodstock.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Jakarta and Paris.
I'm losing my edge to the art-school Manchester 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 clarinet sounds with much patience.
I was there when Donald Fagen 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 Smoke to the electroclash 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 Marcia Griffiths. All the underground hits.
All The Sisters of Mercy tracks. I heard you have a vinyl of every 10cc record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Sam Rivers record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare & Kría Brekkan,
Radio Birdman,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Soul Sonic Force,
Röyhkä ja Rättö ja Lehtisalo,
Davy DMX,
Scion,
Letta Mbulu,
Wasted Youth,
Chris & Cosey,
Gang Green,
Marc Romboy vs. Booka Shade,
Newcleus,
The Last Poets,
Anakelly,
The Fire Engines,
Teenage Jesus and the Jerks,
Stiv Bators,
Buzzcocks,
Popol Vuh,
Agitation Free,
Bobby Womack,
Avey Tare's Slasher Flicks,
The Monks,
Robert Wyatt,
Liaisons Dangereuses,
Soft Cell,
Susan Cadogan,
Bob Dylan,
A Certain Ratio,
Ultimate Spinach,
Cabaret Voltaire,
Gabor Szabo,
Nico,
Unrelated Segments,
The Residents,
Audionom,
Skarface,
Manfred Mann's Earth Band,
Throbbing Gristle,
Infiniti,
Yusef Lateef,
Accadde A,
Arthur Verocai,
Schoolly D,
The Chocolate Watch Band,
The J.B.'s,
Black Moon,
Flamin' Groovies,
Strawberry Alarm Clock,
Mantronix,
Hashim,
Max Romeo,
Duran Duran,
Can,
Soulsonic Force,
Qualms,
New Age Steppers,
Y Pants,
Intrusion,
Deepchord,
Lightning Bolt, Lightning Bolt, Lightning Bolt, Lightning Bolt.
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.