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 Jordan and from Calgary.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Seoul and Spokane.
I'm losing my edge to the art-school Shanghai 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 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 Altered Images to the crunk kids.
I played it at Cafe Wha.
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 the Human League. All the underground hits.
All E-Dancer tracks. I heard you have a vinyl of every Brand Nubian 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 '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Althea and Donna record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Halsall,
Todd Terry,
the Swans,
The Music Machine,
Chrome,
Public Image Ltd.,
Steve Hackett,
Grauzone,
Ponytail,
Pylon,
F. McDonald,
David McCallum,
Rahsaan Roland Kirk,
Liliput,
Avey Tare's Slasher Flicks,
Wings,
Robert Wyatt,
Al Stewart,
Junior Murvin,
Andrew Hill,
Circle Jerks,
Livin' Joy,
OOIOO,
Mark Hollis,
A Certain Ratio,
Lou Reed & John Cale,
The Moleskins,
Rosa Yemen,
Skarface,
Arab on Radar,
Dead Boys,
The Slackers,
Isaac Hayes,
Echospace,
The Residents,
This Heat,
Tres Demented,
Fort Wilson Riot,
Technova,
Harpers Bizarre,
Janne Schatter,
Pole,
Pet Shop Boys,
The Star Department,
The Gun Club,
Aural Exciters,
Masters at Work,
Thee Headcoats,
Minutemen,
Blossom Toes,
Juan Atkins,
Tropical Tobacco,
Kerri Chandler,
Pierre Henry,
The Durutti Column,
Suburban Knight,
Hardrive,
Gang Green,
John Holt,
Ludus,
Leonard Cohen,
Grandmaster Flash,
Glenn Branca,
The Flesh Eaters, The Flesh Eaters, The Flesh Eaters, The Flesh Eaters.
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.