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 Bosnia Herzegovina and from Bologna.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1960 to 1971.
I'm losing my edge.
To all the kids in Tehran and Columbus.
I'm losing my edge to the art-school Seoul 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 oboe 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 James Chance & The Contortions 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 Fuzztones. All the underground hits.
All Amazonics tracks. I heard you have a vinyl of every Kenny Larkin record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a UT record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
Joensuu 1685,
Hashim,
Moebius,
Deadbeat,
Country Joe & The Fish,
John Foxx,
Con Funk Shun,
Hardrive,
Roy Ayers Ubiquity,
Flash Fearless,
Anthony Braxton,
The West Coast Pop Art Experimental Band,
Black Moon,
Andrew Ashong & Theo Parrish,
Sixth Finger,
Sonic Youth,
Cameo,
Barrington Levy,
Absolute Body Control,
Bootsy's Rubber Band,
DJ Sneak,
Parry Music,
Tres Demented,
Whodini,
Josef K,
Bang on a Can All-Stars,
Jesper Dahlbäck,
Gian Franco Pienzio,
Japan,
Skarface,
Excepter,
The Selecter,
Lalo Schifrin,
Simply Red,
Pagans,
Au Pairs,
This Heat,
Blancmange,
Charles Mingus,
Röyhkä ja Rättö ja Lehtisalo,
John Holt,
Siouxsie and the Banshees,
The Misunderstood,
Marmalade,
Cecil Taylor,
Massinfluence,
The Stooges,
Basic Channel,
Q and Not U,
The Slits,
Eurythmics,
Babytalk,
Glambeats Corp.,
Terrestrial Tones,
Gil Scott Heron,
Harmonia,
Peter & Gordon,
The Litter,
Ten City,
Lou Reed & Metallica,
Ash Ra Tempel,
the Swans,
The Slackers, The Slackers, The Slackers, The Slackers.
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.