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 Cambodia and from Madrid.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1971.
I'm losing my edge.
To all the kids in Lille and Salvador.
I'm losing my edge to the art-school Portland 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 güiro 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 Main Source to the rock kids.
I played it at Cafe Wha.
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 Khruangbin. All the underground hits.
All The Black Dice tracks. I heard you have a vinyl of every Juan Atkins 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 '90s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a ABBA record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sugar Minott,
Cabaret Voltaire,
Soul Sonic Force,
Gian Franco Pienzio,
Audionom,
Royal Trux,
Andrew Ashong & Theo Parrish,
A Flock of Seagulls,
The Electric Prunes,
The American Breed,
Yazoo,
Matthew Halsall,
Trumans Water,
The Fugs,
Lonnie Liston Smith,
Animal Collective,
Jawbox,
Franke,
Ronan,
The Men They Couldn't Hang,
Roxette,
Leonard Cohen,
Underground Resistance,
Ornette Coleman,
Oneida,
Barclay James Harvest,
The Chocolate Watch Band,
Pharaoh Sanders and the Fire Engines,
Eurythmics,
EPMD,
Crispian St. Peters,
Soul II Soul,
Aswad,
Arcadia,
The Gap Band,
Lizzy Mercier Descloux,
The Human League,
Notorious BIG live in Amsterdam,
Procol Harum,
Excepter,
Delta 5,
Michelle Simonal,
The Raincoats,
a-ha,
Camberwell Now,
Eli Mardock,
Sun Ra Arkestra,
Little Man,
Dr. Dre and Snoop Doggy Dog,
Robert Wyatt,
Symarip,
Alphaville,
Easy Going,
Yusef Lateef,
Larry & the Blue Notes,
Sparks,
Eric Dolphy,
Au Pairs,
Cameo,
Bronski Beat,
Deutsch Amerikanische Freundschaft,
Maleditus Sound,
The Motions,
Siglo XX, Siglo XX, Siglo XX, Siglo XX.
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.