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 Senegal and from Columbus.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Portland and Bremen.
I'm losing my edge to the art-school Bremen 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 snare sounds with much patience.
I was there when Robert Palmer 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 Sällskapet to the electroclash 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 EPMD. All the underground hits.
All Japan tracks. I heard you have a vinyl of every Jandek 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 '80s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Green,
The Mojo Men,
Charles Mingus,
Gil Scott-Heron & Brian Jackson,
These Immortal Souls,
The Star Department,
World's Most,
Letta Mbulu,
Laurel Aitken,
Sarah Menescal,
Cameo,
Supertramp,
Aaron Thompson,
The Raincoats,
Monolake,
The Moody Blues,
Terrestrial Tones,
Art Ensemble Of Chicago,
Infiniti,
Moebius,
Davy DMX,
The Move,
Siouxsie and the Banshees,
Masters at Work,
Sun City Girls,
Easy Going,
LL Cool J,
Arthur Verocai,
Drexciya,
Idris Muhammad,
Saccharine Trust,
Sound Behaviour,
Tears for Fears,
June of 44,
Visage,
Major Organ And The Adding Machine,
Sunsets and Hearts,
Rowland S Howard / Lydia Lunch,
Vladislav Delay,
Crispy Ambulance,
Skaos,
The Sisters of Mercy,
Qualms,
Maleditus Sound,
Stockholm Monsters,
Marc Romboy vs. Booka Shade,
The Divine Comedy,
U.S. Maple,
Patti Smith,
Louis and Bebe Barron,
Clear Light,
Traffic Nightmare,
Pharoah Sanders,
Camron Feat. Memphis Bleek And Beenie Seigel,
Morten Harket,
A Certain Ratio,
Bush Tetras,
Stiv Bators,
Pussy Galore,
The Gories,
The Names,
Mo-Dettes,
Minutemen,
Fluxion, Fluxion, Fluxion, Fluxion.
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.