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 Turkey and from Sao Paulo.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Halifax and Bologna.
I'm losing my edge to the art-school Tehran 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 rhodes sounds with much patience.
I was there when Tom Verlaine 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 Byron Stingily to the rap kids.
I played it at the 40 Watt.
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 Little Man. All the underground hits.
All Kings Of Tomorrow 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 rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a X-101 record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Smooth,
Sonic Youth,
Thinking Fellers Union Local 282,
H. Thieme,
Vainqueur,
Rufus Thomas,
John Lydon,
Lower 48,
Unwound,
The Motions,
Dennis Brown,
Public Image Ltd.,
Ultramagnetic MC's,
the Germs,
Minnie Riperton,
The Red Krayola,
Clear Light,
The Victims,
AZ,
Popol Vuh,
Kool G Rap & DJ Polo,
Shuggie Otis,
Yaz,
Selector Dub Narcotic,
Accadde A,
The Wake,
Crispian St. Peters,
Faraquet,
John Cale,
Harmonia,
Tubeway Army,
Boredoms,
Fela Kuti,
Pulsallama,
Carl Craig,
the Soft Cell,
Crispy Ambulance,
Roxette,
Gichy Dan,
Nils Olav,
DeepChord presents Echospace,
Slave,
David Bowie,
Orchestral Manoeuvres in the Dark,
Heavy D & The Boyz,
Saccharine Trust,
Mr. Review,
Alton Ellis,
Prince Buster,
Scientists,
Josef K,
Heaven 17,
Scratch Acid,
Joensuu 1685,
The Mighty Diamonds,
The Blues Magoos,
The Fortunes,
Hot Snakes,
The Flesh Eaters,
F. McDonald,
Eli Mardock,
John Coltrane,
Mad Mike, Mad Mike, Mad Mike, Mad Mike.
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.