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 Edmonton.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Jakarta and Bremen.
I'm losing my edge to the art-school Shanghai 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 oboe sounds with much patience.
I was there when Donald Fagen 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 Robert Görl to the grunge kids.
I played it at Cafe Wha.
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 Half Japanese. All the underground hits.
All Second Layer tracks. I heard you have a vinyl of every Wally Richardson 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 '60s cut and another box set from the '80s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a E-Dancer record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun Ra,
James Chance & The Contortions,
The Remains,
Kevin Saunderson,
Cluster,
Grauzone,
Qualms,
Arcadia,
Roxy Music,
Radiohead,
The United States of America,
Public Image Ltd.,
Cybotron,
Andrew Hill,
Scratch Acid,
Jandek,
Black Bananas,
London Community Gospel Choir,
Harmonia,
Technova,
Accadde A,
Matthew Bourne,
Heavy D & The Boyz,
Loose Ends,
Drive Like Jehu,
Thinking Fellers Union Local 282,
The Misunderstood,
Reagan Youth,
Alice Coltrane,
Crash Course in Science,
Barrington Levy,
Little Man,
Excepter,
Japan,
Bootsy Collins,
Art Ensemble Of Chicago,
Faraquet,
The Mojo Men,
Deutsch Amerikanische Freundschaft,
Liliput,
Girls At Our Best!,
The Slackers,
Kango’s Stein Massive,
Yazoo,
The Black Dice,
Todd Terry,
Half Japanese,
Darondo,
Flash Fearless,
June of 44,
Ultimate Spinach,
Terrestrial Tones,
Guru Guru,
Saccharine Trust,
The Smiths,
The Gun Club,
Man Eating Sloth,
The Beau Brummels,
The Buckinghams,
Can,
Sixth Finger,
Anthony Braxton, Anthony Braxton, Anthony Braxton, Anthony Braxton.
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.