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 Laos and from Mexico City.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Halifax.
I'm losing my edge to the art-school Spokane 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 1976 at the first Chic practice in a loft in New York.
I was working on the synthesizer sounds with much patience.
I was there when Donald Fagen 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 Outsiders to the funk kids.
I played it at the Crocodile.
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 Von Mondo. All the underground hits.
All Wire tracks. I heard you have a vinyl of every Archie Shepp 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 '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Rakim record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Colin Newman,
R.M.O.,
Mars,
Ludus,
The Slits,
Danielle Patucci,
Beasts of Bourbon,
The Skatalites,
Oneida,
Zero Boys,
Tommy Roe,
Thee Headcoats,
The Cramps,
Outsiders,
Ornette Coleman,
Unrelated Segments,
Jesper Dahlback,
Siouxsie and the Banshees,
The Count Five,
Camouflage,
Eli Mardock,
The Music Machine,
Eric Copeland,
Urselle,
Tears for Fears,
Jeff Mills,
Buzzcocks,
the Swans,
DJ Sneak,
Warren Ellis,
Donald Byrd,
Niagra,
Gil Scott Heron,
The Gap Band,
The Happenings,
Stetsasonic,
Pylon,
The Monochrome Set,
Deepchord,
Pantaleimon,
JFA,
Massinfluence,
Graham Central Station,
Delta 5,
Subhumans,
Bobbi Humphrey,
A Flock of Seagulls,
Iggy Pop,
David Axelrod,
The Dirtbombs,
Interpol,
Slave,
Scott Walker + Sunn O))),
The Index,
Pere Ubu,
The Sound,
Livin' Joy,
UT,
Althea and Donna,
Nation of Ulysses,
Babytalk,
The Wake,
Louis and Bebe Barron,
The Star Department, The Star Department, The Star Department, The Star Department.
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.