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 Malaysia and from Taipei.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Spokane and Lyon.
I'm losing my edge to the art-school Mumbai 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 sitar 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 Max Romeo to the jazz kids.
I played it at the Astoria.
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 Sight & Sound. All the underground hits.
All Jandek tracks. I heard you have a vinyl of every Monks record on German import.
I heard that you have a white label of every seminal dance 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 sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Henry Cow record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Copeland,
Bobby Sherman,
Funky Four + One,
The Associates,
Jawbox,
Lightning Bolt,
Inner City,
Avey Tare & Kría Brekkan,
Excepter,
Anthony Braxton,
Thompson Twins,
Crime,
Leonard Cohen,
The Martian,
Urselle,
Neil Young,
Cymande,
The Cowsills,
The Zeros,
The Gories,
The Smoke,
Man Parrish,
Sonic Youth,
Khruangbin,
Harry Pussy,
Piero Umiliani,
Warsaw,
Kerrie Biddell,
Manfred Mann's Earth Band,
Magma,
Lou Reed & Metallica,
Duran Duran,
The Residents,
EPMD,
the Germs,
Roy Ayers,
Delon & Dalcan,
Pylon,
Gong,
Yaz,
Tomorrow,
The Angels of Light,
Pagans,
Pole,
Suburban Knight,
Rod Modell,
Fad Gadget,
Mad Mike,
La Düsseldorf,
Oppenheimer Analysis,
cv313,
Nik Kershaw,
the Sonics,
Amon Düül II,
Glenn Branca,
Eden Ahbez,
Toni Rubio,
Be Bop Deluxe,
Lindisfarne,
Al Stewart,
Gregory Isaacs,
Chrome,
Aural Exciters,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.