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 Morocco and from Tokyo.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Philadelphia.
I'm losing my edge to the art-school Mexico City 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 1984 at the first Arcadia practice in a loft in London.
I was working on the snare sounds with much patience.
I was there when Lou Reed 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 Chris & Cosey to the punk kids.
I played it at the Crocodile.
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 Sarah Menescal. All the underground hits.
All Crispy Ambulance tracks. I heard you have a vinyl of every The Jesus and Mary Chain 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 '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Martian record.
I hear that you and your band have sold your rhodes and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Ossler,
John Cale,
Section 25,
Throbbing Gristle,
Negative Approach,
Brand Nubian,
Camron Feat. Memphis Bleek And Beenie Seigel,
Subhumans,
The American Breed,
Gil Scott-Heron and Jamie xx,
Lee Hazlewood,
Bush Tetras,
Country Joe & The Fish,
Spandau Ballet,
Boz Scaggs,
Wolf Eyes,
Byron Stingily,
Tres Demented,
Maurizio,
Brass Construction,
The Tremeloes,
Kurtis Blow,
Warsaw,
Grauzone,
La Düsseldorf,
Dark Day,
Lebanon Hanover,
Archie Shepp,
Morten Harket,
The Martian,
Art Ensemble Of Chicago,
Jeff Mills,
Kerrie Biddell,
The Fortunes,
Althea and Donna,
Massinfluence,
Aural Exciters,
It's A Beautiful Day,
Bobby Hutcherson,
Joe Finger,
Freddie Wadling,
Los Fastidios,
Rosa Yemen,
The Pretty Things,
Bauhaus,
Make Up,
Niagra,
Orchestral Manoeuvres in the Dark,
Barry Ungar,
James Chance & The Contortions,
Jimmy McGriff,
Newcleus,
Deakin,
Metal Thangz,
Tom Boy,
Bizarre Inc.,
Crispian St. Peters,
Nils Olav,
Jacob Miller,
Thompson Twins,
Crash Course in Science,
The Victims, The Victims, The Victims, The Victims.
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.