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 United Kingdom and from Paris.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Mexico City and Philadelphia.
I'm losing my edge to the art-school Toronto 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 linndrum 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 Shoche to the electroclash kids.
I played it at the 40 Watt.
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 Lakeside. All the underground hits.
All The Human League tracks. I heard you have a vinyl of every the Slits 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 '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
These Immortal Souls,
Icehouse,
The United States of America,
New Order,
ABC,
Masters at Work,
Popol Vuh,
Main Source,
The Last Poets,
Kings Of Tomorrow,
The Selecter,
Lyres,
Accadde A,
Fela Kuti,
Todd Rundgren,
Con Funk Shun,
Fatback Band,
Funky Four + One,
Boredoms,
Jeru the Damaja,
UT,
Derrick Morgan,
John Coltrane,
Reuben Wilson,
Joe Smooth,
the Association,
Colin Newman,
F. McDonald,
Skriet,
Yusef Lateef,
Judy Mowatt,
Public Image Ltd.,
The Names,
Laurel Aitken,
Boz Scaggs,
Josef K,
Dennis Brown,
The Electric Prunes,
Radiohead,
Rites of Spring,
Robert Hood,
Country Joe & The Fish,
Robert Wyatt,
Animal Collective,
the Fania All-Stars,
Buzzcocks,
The Young Rascals,
The Cure,
Faust,
Fort Wilson Riot,
Lungfish,
PIL,
Danielle Patucci,
Wasted Youth,
The Fortunes,
Trumans Water,
Sad Lovers and Giants,
Duran Duran,
Outsiders,
Bob Dylan,
Quantec,
Cluster,
Excepter, Excepter, Excepter, Excepter.
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.