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 Italy and from Spokane.
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 1968 to 1973.
I'm losing my edge.
To all the kids in New York and Paris.
I'm losing my edge to the art-school Paris 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 808 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 Masters at Work to the rap kids.
I played it at the Roxy.
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 Blake Baxter tracks. I heard you have a vinyl of every The Men They Couldn't Hang record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a a-ha record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
The Residents,
Pantaleimon,
The Move,
Arab on Radar,
Babytalk,
The Techniques,
Deutsch Amerikanische Freundschaft,
Monolake,
Darondo,
Sonic Youth,
Bobbi Humphrey,
ABC,
Gian Franco Pienzio,
Sixth Finger,
Brick,
Ultramagnetic MC's,
Funky Four + One,
Aloha Tigers,
Donny Hathaway,
Pierre Henry,
Barclay James Harvest,
Orchestral Manoeuvres in the Dark,
Ituana,
The Mojo Men,
Negative Approach,
Flamin' Groovies,
Glenn Branca,
The Monochrome Set,
Desert Stars,
Wasted Youth,
The Evens,
Harry Pussy,
Black Bananas,
the Sonics,
Bootsy Collins,
Soulsonic Force,
Vaughan Mason & Crew,
Qualms,
the Swans,
Notorious BIG live in Amsterdam,
Avey Tare & Kría Brekkan,
Monks,
The Star Department,
Masters at Work,
Buzzcocks,
The Birthday Party,
Wolf Eyes,
Theoretical Girls,
The Mummies,
The Beau Brummels,
Make Up,
Das Ding,
Angry Samoans,
Porter Ricks,
Heaven 17,
Piero Umiliani,
Aswad,
Niagra,
T.S.O.L.,
Rhythim Is Rhythim,
Franke,
Siglo XX, Siglo XX, Siglo XX, Siglo XX.
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.