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 Burundi and from Portland.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1974.
I'm losing my edge.
To all the kids in Delhi and Hong Kong.
I'm losing my edge to the art-school London 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 theremin 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 Underground Resistance to the dance kids.
I played it at the Astoria.
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 The Stooges. All the underground hits.
All Dorothy Ashby tracks. I heard you have a vinyl of every Bluetip 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 '70s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Joe Finger record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba 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?
Donald Byrd,
Unrelated Segments,
Rowland S Howard / Lydia Lunch,
Robert Görl,
Clear Light,
The Smiths,
Section 25,
FM Einheit,
Scientists,
The Peanut Butter Conspiracy,
Surgeon,
Gong,
Mad Mike,
Henry Cow,
Livin' Joy,
The Human League,
Faraquet,
Adolescents,
Barclay James Harvest,
Dark Day,
Teenage Jesus and the Jerks,
The Divine Comedy,
The Dirtbombs,
Cecil Taylor,
Sarah Menescal,
The Red Krayola,
AZ,
Maleditus Sound,
Neu!,
Kauko Röyhkä ja Narttu,
Boogie Down Productions,
Gastr Del Sol,
Johnny Clarke,
Groovy Waters,
Deadbeat,
Eric B and Rakim,
Lucky Dragons,
Warren Ellis,
Soul II Soul,
Be Bop Deluxe,
UT,
Sly & The Family Stone,
Nick Cave & The Bad Seeds,
Sexual Harrassment,
Theoretical Girls,
Jesper Dahlbäck,
Wighnomy Brothers & Robag Wruhme,
David Axelrod,
The Mojo Men,
Parry Music,
Ronan,
Bobby Hutcherson,
Yellowson,
New Order,
Al Stewart,
The Names,
Blancmange,
Albert Ayler,
Rekid,
Pylon,
DJ Style,
Drive Like Jehu,
the Human League,
The Monochrome Set, The Monochrome Set, The Monochrome Set, The Monochrome Set.
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.