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 Thailand and from Woodstock.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Halifax and Jakarta.
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 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 Sugar Minott to the dance kids.
I played it at the Crocodile.
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 Bill Near. All the underground hits.
All Hashim tracks. I heard you have a vinyl of every Alice Coltrane 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 '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Severed Heads record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bang on a Can All-Stars,
Nick Fraelich,
Eric Dolphy,
DNA,
Deadbeat,
Sex Pistols,
Massinfluence,
The Star Department,
Al Stewart,
Wings,
Country Teasers,
CMW,
Rakim,
D'Angelo,
The J.B.'s,
Scratch Acid,
Jacob Miller,
Siouxsie and the Banshees,
48th St. Collective,
cv313,
Donald Byrd,
Roger Hodgson,
Public Image Ltd.,
Bill Near,
Black Moon,
John Foxx,
Con Funk Shun,
Drive Like Jehu,
Pulsallama,
Jacques Brel,
Terry Callier,
Bobbi Humphrey,
Slave,
Ralphi Rosario,
Max Romeo,
Schoolly D,
The Pop Group,
Darondo,
Jeff Mills,
Main Source,
Sällskapet,
Derrick Morgan,
Alison Limerick,
Ludus,
Gian Franco Pienzio,
Vladislav Delay,
Hasil Adkins,
Radio Birdman,
Michelle Simonal,
Magma,
Lou Reed,
Girls At Our Best!,
Japan,
The Kinks,
Ken Boothe,
Moby Grape,
ABBA,
Duran Duran,
Cabaret Voltaire,
T. Rex,
Trumans Water,
Alton Ellis,
8 Eyed Spy, 8 Eyed Spy, 8 Eyed Spy, 8 Eyed Spy.
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.