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 France and from Madrid.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1970.
I'm losing my edge.
To all the kids in Glasgow and London.
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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 Interpol to the jazz kids.
I played it at the Spitz.
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 Sunsets and Hearts. All the underground hits.
All Kurtis Blow tracks. I heard you have a vinyl of every The Walker Brothers record on German import.
I heard that you have a white label of every seminal jazz 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 chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Tim Buckley 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?
Public Image Ltd.,
Todd Terry,
Yaz,
Joyce Sims,
Terrestrial Tones,
Lee Hazlewood,
The Slits,
Kevin Saunderson,
The Victims,
Brand Nubian,
Funky Four + One,
Fugazi,
Amazonics,
Spandau Ballet,
The Dave Clark Five,
Judy Mowatt,
Faust,
Young Marble Giants,
Brothers Johnson,
The Blackbyrds,
Faraquet,
Parry Music,
Tears for Fears,
Neil Young & Crazy Horse,
Stockholm Monsters,
Quando Quango,
X-102,
Kerrie Biddell,
Grandmaster Flash,
Moss Icon,
The Gories,
Minor Threat,
Procol Harum,
Marvin Gaye,
Rakim,
The West Coast Pop Art Experimental Band,
Big Daddy Kane,
T.S.O.L.,
The Fugs,
Bizarre Inc.,
Jacques Brel,
Electric Prunes,
Hasil Adkins,
Pierre Henry,
The American Breed,
Eric Copeland,
Al Stewart,
Letta Mbulu,
The Buckinghams,
ABBA,
Siouxsie and the Banshees,
Skarface,
Agent Orange,
The Count Five,
Guru Guru,
Juan Atkins,
Lou Christie,
Zero Boys,
Oppenheimer Analysis,
The Knickerbockers,
Lucky Dragons,
Derrick Morgan, Derrick Morgan, Derrick Morgan, Derrick Morgan.
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.