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 Solomon Islands and from Lagos.
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 1979.
I'm losing my edge.
To all the kids in London and Portland.
I'm losing my edge to the art-school Cairo 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the 808 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 Associates to the funk 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 Godley & Creme. All the underground hits.
All Anthony Braxton tracks. I heard you have a vinyl of every Con Funk Shun 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 '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a 48th St. Collective record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Near,
Todd Terry,
The Count Five,
Young Marble Giants,
June of 44,
Major Organ And The Adding Machine,
Eric Copeland,
Sällskapet,
Whodini,
The Slits,
Unrelated Segments,
Rekid,
Liaisons Dangereuses,
The Vogues,
Sugar Minott,
Robert Hood,
Stiv Bators,
Bang on a Can All-Stars,
Stockholm Monsters,
Nik Kershaw,
Flipper,
Girls At Our Best!,
Deadbeat,
Loose Ends,
The Sound,
Crooked Eye,
The Blackbyrds,
the Fania All-Stars,
Glenn Branca,
Lungfish,
Faust,
Inner City,
Louis and Bebe Barron,
Ohio Players,
Jacques Brel,
The Wake,
Pete Rock & C.L. Smooth,
The Happenings,
The Kinks,
Bobby Hutcherson,
Fort Wilson Riot,
Iggy Pop,
Blake Baxter,
Pere Ubu,
The Smiths,
Byron Stingily,
Reuben Wilson,
The Sonics,
Wally Richardson,
Peter and Kerry,
Max Romeo,
Delon & Dalcan,
Rod Modell,
Au Pairs,
Rakim,
This Heat,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Marc Almond,
Oblivians,
China Crisis,
Kas Product,
Andrew Hill,
Bobbi Humphrey,
The Detroit Cobras, The Detroit Cobras, The Detroit Cobras, The Detroit Cobras.
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.