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 Bolivia and from Woodstock.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Beijing and Tehran.
I'm losing my edge to the art-school Jakarta 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 guitar 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 Roxette to the techno kids.
I played it at the Spitz.
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 Durutti Column. All the underground hits.
All Gil Scott-Heron and Jamie xx tracks. I heard you have a vinyl of every Rapeman 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 '70s cut and another box set from the '80s.
I hear you're buying a guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lucky Dragons,
Albert Ayler,
The Doobie Brothers,
Brass Construction,
Electric Light Orchestra,
Larry & the Blue Notes,
Barry Ungar,
Sparks,
Country Joe & The Fish,
Lower 48,
Fat Boys,
The Fall,
Blossom Toes,
New Order,
Judy Mowatt,
DeepChord presents Echospace,
Pharaoh Sanders and the Fire Engines,
The Zeros,
Scan 7,
Bush Tetras,
The Dirtbombs,
Godley & Creme,
Kas Product,
Lou Reed & Metallica,
Nils Olav,
Deadbeat,
Grauzone,
Bill Near,
Strawberry Alarm Clock,
Adolescents,
Eurythmics,
Sarah Menescal,
Gregory Isaacs,
The Blackbyrds,
Dave Gahan,
The Dead C,
Warren Ellis,
Flipper,
Nico,
Sex Pistols,
Davy DMX,
Pole,
Circle Jerks,
Rakim,
Moebius,
The Sonics,
Alice Coltrane,
The Moleskins,
Kevin Saunderson,
Gil Scott Heron,
Absolute Body Control,
Camron Feat. Jay Z And Juelz,
The Motions,
Jandek,
Avey Tare,
Nick Fraelich,
The Durutti Column,
The Barracudas,
Zero Boys,
Alphaville,
Danielle Patucci, Danielle Patucci, Danielle Patucci, Danielle Patucci.
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.