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 Argentina and from Sao Paulo.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Tokyo.
I'm losing my edge to the art-school Mumbai 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 1976 at the first Wire practice in a loft in Watford.
I was working on the theremin sounds with much patience.
I was there when Robert Palmer 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 funk kids.
I played it at Cafe Wha.
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 Count Five. All the underground hits.
All Letta Mbulu tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band record on German import.
I heard that you have a white label of every seminal disco 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 spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Khruangbin record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Subhumans,
Joyce Sims,
Hot Snakes,
Cluster,
Boz Scaggs,
Sight & Sound,
Ronnie Foster,
The Knickerbockers,
Glenn Branca,
Sound Behaviour,
Gian Franco Pienzio,
Inner City,
Jeff Lynne,
Accadde A,
Franke,
Iggy Pop,
EPMD,
Eric Copeland,
Rod Modell,
Crooked Eye,
The Saints,
B.T. Express,
Fort Wilson Riot,
Lakeside,
Neu!,
The Skatalites,
Kevin Saunderson,
Monks,
Skriet,
Sticky Fingaz feat. Raekwon,
Section 25,
Scan 7,
The Sonics,
The Victims,
In Retrospect,
Andrew Hill,
Can,
Brass Construction,
Marshall Jefferson,
Alphaville,
Masters at Work,
Reuben Wilson,
Selector Dub Narcotic,
the Swans,
Scientists,
Zero Boys,
Be Bop Deluxe,
Toni Rubio,
Negative Approach,
Bill Wells,
The Smoke,
Deepchord,
Peter Gordon & Love of Life Orchestra,
Gong,
Camberwell Now,
Buzzcocks,
Man Parrish,
James Chance & The Contortions,
Q65,
UT,
Pagans,
Idris Muhammad,
The Grass Roots, The Grass Roots, The Grass Roots, The Grass Roots.
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.