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 Iran and from Lyon.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Toronto and Spokane.
I'm losing my edge to the art-school Delhi 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Juan Atkins to the dance kids.
I played it at Trash.
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 Rosa Yemen. All the underground hits.
All Pantytec tracks. I heard you have a vinyl of every Lucky Dragons 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 '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Alphaville record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Sherman,
Crash Course in Science,
Kaleidoscope,
Monks,
Radio Birdman,
Mandrill,
Neil Young & Crazy Horse,
Animal Collective,
Jeru the Damaja,
Cybotron,
Section 25,
Stereo Dub,
The Evens,
Camberwell Now,
The Grass Roots,
the Swans,
Patti Smith,
Zapp,
Au Pairs,
Fifty Foot Hose,
Avey Tare's Slasher Flicks,
The Velvet Underground,
Saccharine Trust,
Essential Logic,
David Axelrod,
The Cowsills,
The Offenders,
Dorothy Ashby,
Nation of Ulysses,
Public Image Ltd.,
The Music Machine,
Art Ensemble Of Chicago,
Morten Harket,
Agent Orange,
Ronan,
PIL,
the Slits,
The Standells,
Albert Ayler,
Orchestral Manoeuvres in the Dark,
Delta 5,
Kenny Larkin,
June of 44,
Moss Icon,
Cecil Taylor,
The Durutti Column,
Barbara Tucker,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Fort Wilson Riot,
Brick,
the Germs,
Grey Daturas,
The Gap Band,
The Gun Club,
Nas,
Jeff Mills,
Angry Samoans,
Althea and Donna,
Anthony Braxton,
The Tremeloes,
Oblivians,
Scott Walker + Sunn O))),
UT,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.