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 Belarus and from Madrid.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1972.
I'm losing my edge.
To all the kids in Accra and Toronto.
I'm losing my edge to the art-school Bologna 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 Holger Czukay 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 Warren Ellis to the disco 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 The Fortunes. All the underground hits.
All The Fire Engines tracks. I heard you have a vinyl of every Rekid record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rahsaan Roland Kirk,
Thinking Fellers Union Local 282,
Subhumans,
Bizarre Inc.,
The Toasters,
Teenage Jesus and the Jerks,
Cal Tjader,
Bobbi Humphrey,
Thompson Twins,
Fifty Foot Hose,
Rhythim Is Rhythim,
These Immortal Souls,
Q65,
Bang On A Can,
In Retrospect,
Country Joe & The Fish,
Masters at Work,
Angry Samoans,
Vladislav Delay,
Lalo Schifrin,
Nick Fraelich,
Freddie Wadling,
Matthew Halsall,
The Gap Band,
Roy Ayers,
Major Organ And The Adding Machine,
Tropical Tobacco,
Deutsch Amerikanische Freundschaft,
Cheater Slicks,
Leonard Cohen,
Mission of Burma,
Little Man,
Magazine,
The Pop Group,
Siouxsie and the Banshees,
Groovy Waters,
Pagans,
Harmonia,
The Slits,
Marine Girls,
Gastr Del Sol,
Blancmange,
Pylon,
Bobby Hutcherson,
Los Fastidios,
KRS-One,
Siglo XX,
Half Japanese,
Newcleus,
Delon & Dalcan,
Hardrive,
Yaz,
F. McDonald,
Aswad,
Lafayette Afro Rock Band,
Carl Craig,
The Music Machine,
Lou Reed,
Grey Daturas,
Ohio Players,
Boredoms,
Japan, Japan, Japan, Japan.
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.