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 St Kitts & Nevis and from Delhi.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Delhi and Toronto.
I'm losing my edge to the art-school Hong Kong 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 linndrum sounds with much patience.
I was there when Michael McDonald 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 Babytalk to the grime kids.
I played it at Trash.
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 Kerri Chandler. All the underground hits.
All The American Breed tracks. I heard you have a vinyl of every Neil Young & Crazy Horse record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Amazonics record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Technova,
Swans,
Aloha Tigers,
Oneida,
Nation of Ulysses,
Minutemen,
Mandrill,
48th St. Collective,
Archie Shepp,
Television,
Orchestral Manoeuvres in the Dark,
Sarah Menescal,
Eve St. Jones,
The Saints,
Jerry's Kids,
Lakeside,
The Busters,
Sly & The Family Stone,
Oppenheimer Analysis,
Bob Dylan,
A Certain Ratio,
Lightning Bolt,
Stiv Bators,
The Black Dice,
The Mighty Diamonds,
Ice-T,
The Chocolate Watch Band,
Country Teasers,
Bill Wells,
Kayak,
Jeru the Damaja,
Can,
The Motions,
Ponytail,
Crash Course in Science,
the Slits,
Unwound,
Eddi Front,
Hashim,
Bad Manners,
the Sonics,
Blancmange,
UT,
L. Decosne,
Toni Rubio,
Avey Tare's Slasher Flicks,
Roger Hodgson,
Dr. Dre and Snoop Doggy Dog,
Peter & Gordon,
Adolescents,
Grandmaster Flash,
Vaughan Mason & Crew,
Röyhkä ja Rättö ja Lehtisalo,
Nico,
X-102,
Art Ensemble Of Chicago,
Oblivians,
Lindisfarne,
MC5,
The Detroit Cobras,
Wasted Youth, Wasted Youth, Wasted Youth, Wasted Youth.
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.