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 Mozambique and from Delhi.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1970.
I'm losing my edge.
To all the kids in Stockholm and Glasgow.
I'm losing my edge to the art-school Glasgow 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 güiro 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 The Birthday Party to the techno 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 Connie Case. All the underground hits.
All kango's stein massive tracks. I heard you have a vinyl of every Lou Reed & John Cale 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 '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Technova record.
I hear that you and your band have sold your marimba and bought an oboe.
I hear that you and your band have sold your oboe and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Smog,
Qualms,
The Fire Engines,
Alphaville,
Fifty Foot Hose,
Deadbeat,
Bob Dylan,
Grey Daturas,
Flash Fearless,
The Royal Family And The Poor,
Bill Near,
Roger Hodgson,
Orchestral Manoeuvres in the Dark,
Todd Rundgren,
Man Parrish,
Peter and Kerry,
Pierre Henry,
John Coltrane,
Boz Scaggs,
Kings Of Tomorrow,
Average White Band,
New Age Steppers,
Ajijia Myrayebe,
The New Christs,
Henry Cow,
Electric Light Orchestra,
Royal Trux,
Severed Heads,
H. Thieme,
Grauzone,
Swell Maps,
Inner City,
The Gladiators,
Los Fastidios,
Traffic Nightmare,
Gil Scott-Heron & Brian Jackson,
The United States of America,
Shuggie Otis,
Ice-T,
Eden Ahbez,
Adolescents,
Marcia Griffiths,
Television Personalities,
Don Cherry,
In Retrospect,
Maleditus Sound,
Flipper,
Ohio Players,
Gastr Del Sol,
Basic Channel,
The Monochrome Set,
Idris Muhammad,
Magazine,
Sandy B,
Todd Terry,
Scratch Acid,
Bobby Sherman,
Lungfish,
Pete Rock & C.L. Smooth,
Minnie Riperton,
Soft Machine,
Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon.
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.