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 Egypt and from Delhi.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Accra and London.
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 1973 at the first Television practice in a loft in New York.
I was working on the theremin 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 The Fall to the grime kids.
I played it at the Astoria.
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 Sad Lovers and Giants. All the underground hits.
All Metal Thangz tracks. I heard you have a vinyl of every Panda Bear record on German import.
I heard that you have a white label of every seminal grunge 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 theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sandy B,
June of 44,
MDC,
The Dave Clark Five,
Lucky Dragons,
Mars,
Silicon Teens,
The Doobie Brothers,
Kevin Saunderson,
Sad Lovers and Giants,
Stockholm Monsters,
X-Ray Spex,
Visionaries,LMNO, T- Love & Iriscience,
The Flesh Eaters,
Robert Hood,
Erasure,
James Chance & The Contortions,
Essential Logic,
Severed Heads,
Angels of Light & Akron/Family,
The Busters,
Archie Shepp,
Gil Scott-Heron and Jamie xx,
Sixth Finger,
Cameo,
Arcadia,
Magma,
Colin Newman,
Aaron Thompson,
The Golliwogs,
Letta Mbulu,
Kas Product,
London Community Gospel Choir,
The Remains,
Angry Samoans,
Tomorrow,
Delta 5,
The Wake,
Deakin,
This Heat,
Gil Scott-Heron & Brian Jackson,
Magazine,
Japan,
Throbbing Gristle,
Lee Hazlewood,
Sight & Sound,
The Names,
Smog,
The Searchers,
The Happenings,
Television Personalities,
Heavy D & The Boyz,
Slave,
Loose Ends,
Pantaleimon,
Art Ensemble Of Chicago,
Rapeman,
Aloha Tigers,
Ajijia Myrayebe,
Half Japanese,
Warren Ellis,
Aswad,
The Martian, The Martian, The Martian, The Martian.
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.