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 Kosovo and from Lille.
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 1965 to 1978.
I'm losing my edge.
To all the kids in London and Mumbai.
I'm losing my edge to the art-school Lagos 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 marimba sounds with much patience.
I was there when Holger Czukay 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 Monks to the dance kids.
I played it at the Roxy.
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 Count Five. All the underground hits.
All Black Moon tracks. I heard you have a vinyl of every Stockholm Monsters record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an oboe and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ice-T,
In Retrospect,
The Victims,
Swans,
Cabaret Voltaire,
Lightning Bolt,
Soulsonic Force,
The Gun Club,
Porter Ricks,
Country Teasers,
James Chance & The Contortions,
Susan Cadogan,
Nas,
The Star Department,
Rowland S Howard / Lydia Lunch,
Visionaries,LMNO, T- Love & Iriscience,
Colin Newman,
Basic Channel,
The Doobie Brothers,
Symarip,
The Music Machine,
Pole,
Wire,
Reuben Wilson,
Half Japanese,
Average White Band,
Moby Grape,
Albert Ayler,
Procol Harum,
a-ha,
The Tremeloes,
Harpers Bizarre,
The Dave Clark Five,
Bang on a Can All-Stars,
Avey Tare,
The Barracudas,
The Wake,
Duran Duran,
Donald Byrd,
The Move,
UT,
Danielle Patucci,
The Pop Group,
Johnny Clarke,
Skaos,
The Mighty Diamonds,
Television Personalities,
Grey Daturas,
Ituana,
The Martian,
Grandmaster Flash and the Furious Five,
Super Lover Cee & Casanova Rud,
Circle Jerks,
Godley & Creme,
Sixth Finger,
Visage,
The Men They Couldn't Hang,
Rosa Yemen,
Gichy Dan,
La Düsseldorf,
Panda Bear,
Fugazi,
Severed Heads,
Warren Ellis, Warren Ellis, Warren Ellis, Warren Ellis.
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.