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 Ghana and from Toronto.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Madrid and Lagos.
I'm losing my edge to the art-school Lyon 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 Lewis practice in a loft in Vancouver.
I was working on the güiro sounds with much patience.
I was there when Lou Reed 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 Happenings to the punk 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 Kenny Larkin. All the underground hits.
All Yellowson tracks. I heard you have a vinyl of every Kings Of Tomorrow record on German import.
I heard that you have a white label of every seminal grime 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 an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a the Fania All-Stars record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anakelly,
The Stooges,
X-101,
The Monochrome Set,
Michelle Simonal,
Audionom,
Thompson Twins,
Loose Ends,
Bauhaus,
Soulsonic Force,
The Sisters of Mercy,
Interpol,
Dorothy Ashby,
FM Einheit,
Blake Baxter,
Major Organ And The Adding Machine,
Boz Scaggs,
Pierre Henry,
Carl Craig,
Bobby Sherman,
Roy Ayers,
AZ,
Cabaret Voltaire,
Avey Tare & Kría Brekkan,
John Holt,
The Real Kids,
Aloha Tigers,
Al Stewart,
The J.B.'s,
The Angels of Light,
Juan Atkins,
Harry Pussy,
The Blues Magoos,
Donald Byrd,
Half Japanese,
Big Daddy Kane,
The Fuzztones,
OOIOO,
John Coltrane,
Leonard Cohen,
Throbbing Gristle,
Main Source,
Flamin' Groovies,
Boogie Down Productions,
Neu!,
Hot Snakes,
Intrusion,
Public Enemy,
Rowland S Howard / Lydia Lunch,
The Names,
Shuggie Otis,
De La Soul & Jungle Brothers,
The Raincoats,
Wolf Eyes,
The Blackbyrds,
Kango’s Stein Massive,
Crooked Eye,
Röyhkä ja Rättö ja Lehtisalo,
The Gun Club,
Terry Callier,
Khruangbin,
The Move,
JFA,
Au Pairs, Au Pairs, Au Pairs, Au Pairs.
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.