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 Ethiopia 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 1960 to 1970.
I'm losing my edge.
To all the kids in Toronto and Manchester.
I'm losing my edge to the art-school Delhi 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the güiro 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 Deakin to the grunge kids.
I played it at the Troubador.
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 Kerri Chandler. All the underground hits.
All The Martian tracks. I heard you have a vinyl of every KRS-One 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 '60s cut and another box set from the '90s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Notorious BIG live in Amsterdam record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Names,
H. Thieme,
Skaos,
Thinking Fellers Union Local 282,
Tears for Fears,
Jesper Dahlbäck,
Livin' Joy,
The Motions,
Ultravox,
DeepChord presents Echospace,
Pete Rock & C.L. Smooth,
Peter & Gordon,
X-102,
Pharaoh Sanders and the Fire Engines,
Soft Machine,
Monolake,
Stockholm Monsters,
Röyhkä ja Rättö ja Lehtisalo,
Boredoms,
Little Man,
the Slits,
The Fire Engines,
Soulsonic Force,
Quando Quango,
Rites of Spring,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Neil Young,
Avey Tare's Slasher Flicks,
Liliput,
Make Up,
Aaron Thompson,
Orchestral Manoeuvres in the Dark,
Pagans,
Blancmange,
Lalann,
Theoretical Girls,
Underground Resistance,
Reuben Wilson,
The Red Krayola,
Ken Boothe,
Darondo,
Camberwell Now,
Barrington Levy,
Harmonia,
Richard Hell and the Voidoids,
The Barracudas,
The Divine Comedy,
T. Rex,
Crispian St. Peters,
The Victims,
The Doors,
Mandrill,
Hashim,
Notorious BIG live in Amsterdam,
Pantaleimon,
Dawn Penn,
Kerrie Biddell,
Desert Stars,
Danielle Patucci,
One Last Wish,
Steve Hackett, Steve Hackett, Steve Hackett, Steve Hackett.
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.