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 Zimbabwe and from Portland.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Delhi and Cairo.
I'm losing my edge to the art-school Beijing 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 rhodes sounds with much patience.
I was there when Nile Rodgers 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 Deepchord to the grunge 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 The Vogues. All the underground hits.
All the Swans tracks. I heard you have a vinyl of every The Seeds 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 '80s cut and another box set from the '70s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a New Order record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stiv Bators,
Trumans Water,
Archie Shepp,
Kerrie Biddell,
Little Man,
Fugazi,
OOIOO,
Spandau Ballet,
Boogie Down Productions,
Pharoah Sanders,
Ornette Coleman,
Basic Channel,
U.S. Maple,
Section 25,
Robert Görl,
Q and Not U,
Vladislav Delay,
Young Marble Giants,
Sly & The Family Stone,
EPMD,
Arcadia,
Pierre Henry,
Dawn Penn,
Wighnomy Brothers & Robag Wruhme,
48th St. Collective,
Visionaries,LMNO, T- Love & Iriscience,
Flamin' Groovies,
Electric Prunes,
Bang On A Can,
Bauhaus,
Sun City Girls,
Bill Near,
Ponytail,
Hasil Adkins,
A Flock of Seagulls,
Frankie Knuckles,
Lucky Dragons,
Cluster,
Sonny Sharrock,
Lalann,
Yusef Lateef,
Derrick Morgan,
the Fania All-Stars,
Pussy Galore,
LL Cool J,
Ralphi Rosario,
Maleditus Sound,
Mandrill,
The Cramps,
Interpol,
Aural Exciters,
Brand Nubian,
John Holt,
These Immortal Souls,
The Cowsills,
Roy Ayers,
Lightning Bolt,
Richard Hell and the Voidoids,
Gary Puckett & The Union Gap,
This Heat,
Jesper Dahlbäck,
UT, UT, UT, UT.
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.