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 South Sudan and from Portland.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Lille and Lagos.
I'm losing my edge to the art-school Beijing 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 guitar 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 to the punk 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 Lebanon Hanover. All the underground hits.
All Bauhaus tracks. I heard you have a vinyl of every Monolake 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 '50s cut and another box set from the '70s.
I hear you're buying a sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Max Romeo record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rod Modell,
Mark Hollis,
Altered Images,
Kango’s Stein Massive,
The Motions,
Magma,
Q65,
Todd Terry,
Pierre Henry,
Country Teasers,
Robert Hood,
8 Eyed Spy,
Kaleidoscope,
Frankie Knuckles,
Selector Dub Narcotic,
The Fire Engines,
The Fugs,
a-ha,
Todd Rundgren,
Brick,
the Swans,
Tommy Roe,
Sugar Minott,
Bobby Womack,
Rites of Spring,
John Foxx,
The Golliwogs,
Maurizio,
Notorious Big And Bone Thugs,
Alton Ellis,
Deadbeat,
Big Daddy Kane,
Kevin Saunderson,
Roy Ayers Ubiquity,
X-102,
Leonard Cohen,
Barclay James Harvest,
Traffic Nightmare,
Heavy D & The Boyz,
James White and The Blacks,
Gang Starr,
The Count Five,
R.M.O.,
Bootsy's Rubber Band,
Circle Jerks,
AZ,
Nick Fraelich,
John Cale,
Royal Trux,
Robert Wyatt,
Aloha Tigers,
The Star Department,
Drexciya,
Fluxion,
Massinfluence,
Flamin' Groovies,
Theoretical Girls,
Ohio Players,
The Zeros,
Maleditus Sound, Maleditus Sound, Maleditus Sound, Maleditus Sound.
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.