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 Liechtenstein and from Jakarta.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and Delhi.
I'm losing my edge to the art-school Manila 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 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 Gil Scott-Heron and Jamie xx to the grime kids.
I played it at the Troubador.
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 Lebanon Hanover. All the underground hits.
All Kurtis Blow tracks. I heard you have a vinyl of every Amon Düül II record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your oboe and bought a marimba.
I hear that you and your band have sold your marimba and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris Corsano,
The Wake,
John Coltrane,
Masters at Work,
Sparks,
Sonic Youth,
Adolescents,
Pete Rock & C.L. Smooth,
Soulsonic Force,
The United States of America,
Urselle,
Jandek,
Godley & Creme,
Jesper Dahlbäck,
The Blues Magoos,
Procol Harum,
Steve Hackett,
Anakelly,
Electric Light Orchestra,
Wire,
The Selecter,
Television,
L. Decosne,
Sun Ra Arkestra,
Half Japanese,
Stetsasonic,
The Black Dice,
Orchestral Manoeuvres in the Dark,
Flamin' Groovies,
Ash Ra Tempel,
Yellowson,
Kayak,
Con Funk Shun,
Bobby Hutcherson,
The Kinks,
Yusef Lateef,
Harpers Bizarre,
Sly & The Family Stone,
Peter & Gordon,
Marmalade,
Rakim,
Dorothy Ashby,
Fort Wilson Riot,
Drive Like Jehu,
Angels of Light & Akron/Family,
The Sound,
Carl Craig,
Depeche Mode,
Barclay James Harvest,
The Men They Couldn't Hang,
Country Teasers,
Mantronix,
Goldenarms,
Morten Harket,
The Monochrome Set,
Blancmange,
Rotary Connection,
Aural Exciters,
Electric Prunes,
Sight & Sound,
Pylon,
Camberwell Now,
Barry Ungar, Barry Ungar, Barry Ungar, Barry Ungar.
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.