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 New Zealand and from Spokane.
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 1972.
I'm losing my edge.
To all the kids in Calgary and Johannesburg.
I'm losing my edge to the art-school New York 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Deepchord to the rock kids.
I played it at CBGB's.
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 Japan. All the underground hits.
All Bang on a Can All-Stars tracks. I heard you have a vinyl of every Avey Tare's Slasher Flicks record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Ken Boothe record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Main Source,
Swell Maps,
Nick Fraelich,
The Happenings,
The Gun Club,
Suburban Knight,
The Birthday Party,
8 Eyed Spy,
Metal Thangz,
Public Enemy,
Ituana,
Hoover,
The Last Poets,
Marine Girls,
Orchestral Manoeuvres in the Dark,
Vainqueur,
Visionaries,LMNO, T- Love & Iriscience,
B.T. Express,
D'Angelo,
John Holt,
James White and The Blacks,
Agent Orange,
The Angels of Light,
Wolf Eyes,
Wally Richardson,
Goldenarms,
Popol Vuh,
Brass Construction,
Bootsy Collins,
This Heat,
Piero Umiliani,
Cluster,
Todd Rundgren,
Accadde A,
Susan Cadogan,
Tropical Tobacco,
Dark Day,
Moss Icon,
Mad Mike,
Pole,
The Music Machine,
Roy Ayers,
Sunsets and Hearts,
Oppenheimer Analysis,
Ronan,
Sound Behaviour,
Ice-T,
Scan 7,
Alton Ellis,
R.M.O.,
Dennis Brown,
Amon Düül,
Teenage Jesus and the Jerks,
Absolute Body Control,
MC5,
The Seeds,
Half Japanese,
Kool G Rap & DJ Polo,
The Toasters,
The Young Rascals, The Young Rascals, The Young Rascals, The Young Rascals.
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.