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 Uganda and from Toronto.
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 1979.
I'm losing my edge.
To all the kids in Paris and Taipei.
I'm losing my edge to the art-school Johannesburg 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the organ 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 The Doors to the disco 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 Rod Modell. All the underground hits.
All Throbbing Gristle tracks. I heard you have a vinyl of every Cecil Taylor record on German import.
I heard that you have a white label of every seminal jazz 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 an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Walker Brothers record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Smiths,
Technova,
Brass Construction,
Leonard Cohen,
The Mummies,
Infiniti,
Terror Squad Feat. Camron,
Skriet,
The Vogues,
the Sonics,
Newcleus,
Porter Ricks,
John Holt,
Bluetip,
Wings,
Selector Dub Narcotic,
Black Flag,
Iggy Pop,
Suicide,
The Dead C,
Vainqueur,
Pharaoh Sanders and the Fire Engines,
Icehouse,
Ultravox,
Clear Light,
Sex Pistols,
Quantec,
Loose Ends,
Andrew Ashong & Theo Parrish,
Amazonics,
Andrew Hill,
the Association,
Amon Düül,
The Mojo Men,
Liaisons Dangereuses,
Sunsets and Hearts,
Rekid,
Organ,
Freddie Wadling,
The Cowsills,
Eric B and Rakim,
The West Coast Pop Art Experimental Band,
Danielle Patucci,
Lee Hazlewood,
Neu!,
Altered Images,
Glenn Branca,
Thee Headcoats,
Steve Hackett,
Chrome,
Anthony Braxton,
The Buckinghams,
Ponytail,
Pantaleimon,
Gang of Four,
Soul II Soul,
Swans,
Yusef Lateef,
Hot Snakes,
The Remains,
Funkadelic,
Mr. Review, Mr. Review, Mr. Review, Mr. Review.
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.