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 Egypt and from Johannesburg.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Stockholm and Paris.
I'm losing my edge to the art-school Seoul 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the organ sounds with much patience.
I was there when Captain Beefheart 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 Tommy Roe to the crunk 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 Aural Exciters. All the underground hits.
All Echo & the Bunnymen tracks. I heard you have a vinyl of every Charles Mingus 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 '60s cut and another box set from the '90s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Aloha Tigers record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobbi Humphrey,
Saccharine Trust,
Duran Duran,
Jawbox,
10cc,
Buzzcocks,
Stetsasonic,
Scion,
Accadde A,
Ultravox,
Hot Snakes,
The Mighty Diamonds,
L. Decosne,
Wire,
KRS-One,
Cameo,
Reagan Youth,
The Index,
Bush Tetras,
Electric Light Orchestra,
Second Layer,
Clear Light,
Glenn Branca,
Ohio Players,
The Monks,
Alison Limerick,
The Martian,
Eric B and Rakim,
the Soft Cell,
Section 25,
Gastr Del Sol,
Junior Murvin,
Alice Coltrane,
Liliput,
The Cowsills,
The Motions,
Vainqueur,
Sarah Menescal,
The Neon Judgement,
Sex Pistols,
Steve Hackett,
Maleditus Sound,
Suburban Knight,
Marshall Jefferson,
Heavy D & The Boyz,
T. Rex,
The Gladiators,
The Alarm Clocks,
Stereo Dub,
Gichy Dan,
Wolf Eyes,
The Residents,
Iggy Pop,
The Mummies,
Crispy Ambulance,
Rhythm & Sound,
The Zeros,
Popol Vuh,
Curtis Mayfield,
Moss Icon,
The Techniques, The Techniques, The Techniques, The Techniques.
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.