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 Korea South and from Portland.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Mexico City and New York.
I'm losing my edge to the art-school Mexico City 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 spring reverb 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 Sun Ra 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 Roy Ayers. All the underground hits.
All Mantronix tracks. I heard you have a vinyl of every Fat Boys record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Absolute Body Control record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Audionom,
Super Lover Cee & Casanova Rud,
kango's stein massive,
Andrew Ashong & Theo Parrish,
Jimmy McGriff,
The Residents,
Hot Snakes,
The Knickerbockers,
Rites of Spring,
R.M.O.,
Popol Vuh,
Smog,
Manfred Mann's Earth Band,
The Index,
The Doors,
Cameo,
Jeff Lynne,
Curtis Mayfield,
The Doobie Brothers,
Sonny Sharrock,
Ken Boothe,
Yellowson,
Susan Cadogan,
Interpol,
Gastr Del Sol,
Mars,
Chris Corsano,
Bill Wells,
Stetsasonic,
Peter Gordon & Love of Life Orchestra,
Oneida,
Morten Harket,
Colin Newman,
Supertramp,
Lalann,
The Fall,
Michelle Simonal,
Mandrill,
The Human League,
Harry Pussy,
Kayak,
Rod Modell,
Eric B and Rakim,
Eurythmics,
The Kinks,
The Gladiators,
Laurel Aitken,
La Düsseldorf,
Quando Quango,
Lonnie Liston Smith,
Gabor Szabo,
the Association,
Average White Band,
The Royal Family And The Poor,
Alison Limerick,
The Remains,
Bronski Beat,
PIL,
Louis and Bebe Barron,
The Mummies,
The Fuzztones, The Fuzztones, The Fuzztones, The Fuzztones.
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.