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 Monaco and from Accra.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Portland.
I'm losing my edge to the art-school Madrid 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 Skriet to the grunge kids.
I played it at the Hacienda.
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 Joe Finger. All the underground hits.
All Kerri Chandler tracks. I heard you have a vinyl of every Rahsaan Roland Kirk 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 '80s.
I hear you're buying a spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Selecter record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
ABBA,
Public Enemy,
Janne Schatter,
Ash Ra Tempel,
Black Sheep,
Kool G Rap & DJ Polo,
Half Japanese,
the Swans,
Scratch Acid,
Audionom,
Bobbi Humphrey,
The Slackers,
Ultravox,
10cc,
Deepchord,
Soft Machine,
The Moleskins,
Pere Ubu,
Chris Corsano,
The Stooges,
Skarface,
The Smiths,
Lindisfarne,
The Cowsills,
Von Mondo,
Ronan,
The Smoke,
Blake Baxter,
X-101,
Sight & Sound,
Gil Scott-Heron & Brian Jackson,
DeepChord presents Echospace,
Ludus,
Cluster,
China Crisis,
Deutsch Amerikanische Freundschaft,
The Fortunes,
Intrusion,
Nik Kershaw,
Tears for Fears,
Alison Limerick,
David Axelrod,
the Germs,
Judy Mowatt,
Eric Copeland,
The Count Five,
the Sonics,
Goldenarms,
Sandy B,
Bobby Womack,
Terrestrial Tones,
Junior Murvin,
The Gories,
Nils Olav,
Groovy Waters,
Pantytec,
Quantec,
Con Funk Shun,
T.S.O.L.,
the Association,
Scott Walker,
Animal Collective,
Bill Near, Bill Near, Bill Near, Bill Near.
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.