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 Turkmenistan and from Lyon.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Beijing and Philadelphia.
I'm losing my edge to the art-school Tokyo 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the 808 sounds with much patience.
I was there when Holger Czukay 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 Sister Nancy to the electroclash 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 Wally Richardson. All the underground hits.
All Ultra Naté tracks. I heard you have a vinyl of every Chrome record on German import.
I heard that you have a white label of every seminal electroclash 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 a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Rapeman record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin 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?
the Slits,
Urselle,
Gregory Isaacs,
Peter Gordon & Love of Life Orchestra,
Underground Resistance,
Bang On A Can,
Masters at Work,
Funky Four + One,
Bobby Hutcherson,
The Cure,
Man Parrish,
Heavy D & The Boyz,
The Buckinghams,
Liaisons Dangereuses,
Bang on a Can All-Stars,
Hasil Adkins,
Strawberry Alarm Clock,
Quantec,
the Fania All-Stars,
Fad Gadget,
Inner City,
The Victims,
Niagra,
D'Angelo,
Big Daddy Kane,
The Neon Judgement,
Talk Talk,
Soul Sonic Force,
Ossler,
Red Lorry Yellow Lorry,
John Cale,
The Doobie Brothers,
The Knickerbockers,
Sexual Harrassment,
Scan 7,
Art Ensemble Of Chicago,
X-101,
Lower 48,
Little Man,
Ice-T,
Avey Tare's Slasher Flicks,
The Seeds,
Nick Cave & The Bad Seeds,
Theoretical Girls,
Organ,
The Remains,
Bauhaus,
Pagans,
Robert Görl,
Gian Franco Pienzio,
Magazine,
The Pop Group,
The Jesus and Mary Chain,
Stiv Bators,
The Durutti Column,
The Busters,
Faust,
Subhumans,
the Bar-Kays, the Bar-Kays, the Bar-Kays, the Bar-Kays.
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.