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 Palau and from Philadelphia.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Houston and Copenhagen.
I'm losing my edge to the art-school Toronto 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 rhodes 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 Second Layer to the techno 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 Steve Hackett. All the underground hits.
All The Raincoats tracks. I heard you have a vinyl of every the Slits record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Man Eating Sloth record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sunsets and Hearts,
Amon Düül II,
Eurythmics,
The Index,
The Smoke,
Sad Lovers and Giants,
Kas Product,
The Sound,
Basic Channel,
Faust,
Electric Prunes,
Bill Near,
The Cowsills,
Rahsaan Roland Kirk,
Mo-Dettes,
Kenny Larkin,
Bang on a Can All-Stars,
Matthew Bourne,
The Beau Brummels,
Wally Richardson,
Barrington Levy,
Camron Feat. Memphis Bleek And Beenie Seigel,
Lizzy Mercier Descloux,
Subhumans,
The Mummies,
Radiopuhelimet,
Glambeats Corp.,
Unrelated Segments,
Black Sheep,
DNA,
Bad Manners,
Arthur Verocai,
Dead Boys,
Sly & The Family Stone,
Nation of Ulysses,
Hardrive,
Mars,
The Monochrome Set,
The Knickerbockers,
The Blues Magoos,
Mission of Burma,
Blake Baxter,
Judy Mowatt,
Eve St. Jones,
Jesper Dahlbäck,
Bluetip,
Con Funk Shun,
Grauzone,
Dark Day,
Porter Ricks,
The Fall,
Connie Case,
Brass Construction,
Pharaoh Sanders and the Fire Engines,
John Cale,
Lonnie Liston Smith,
Black Moon,
The Neon Judgement,
Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch.
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.