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 Ivory Coast and from Lyon.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Hong Kong and Mexico City.
I'm losing my edge to the art-school Johannesburg 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 chamberlin 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 Soft Machine to the electroclash 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 Sonics. All the underground hits.
All Fad Gadget tracks. I heard you have a vinyl of every Neu! 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 '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Busters record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The J.B.'s,
The United States of America,
Das Ding,
a-ha,
Andrew Ashong & Theo Parrish,
Sixth Finger,
Qualms,
Funky Four + One,
The Flesh Eaters,
Iggy Pop,
Mark Hollis,
Nation of Ulysses,
The Cosmic Jokers,
Rufus Thomas,
Aaron Thompson,
Roxette,
Wolf Eyes,
DJ Sneak,
Maurizio,
Ralphi Rosario,
Sister Nancy,
Glenn Branca,
Jacob Miller,
Cabaret Voltaire,
Cheater Slicks,
Gary Puckett & The Union Gap,
Kas Product,
Robert Wyatt,
Stetsasonic,
Oblivians,
The Golliwogs,
The Invisible,
The Residents,
Brass Construction,
The Searchers,
Blossom Toes,
Nas,
The Busters,
Heavy D & The Boyz,
Minutemen,
Grandmaster Flash and the Furious Five,
Susan Cadogan,
Alison Limerick,
Deutsch Amerikanische Freundschaft,
Johnny Clarke,
New Order,
Eurythmics,
Roger Hodgson,
Bauhaus,
Groovy Waters,
Magazine,
Avey Tare's Slasher Flicks,
Minor Threat,
Don Cherry,
The Modern Lovers,
Ituana,
Gabor Szabo,
Jawbox,
Dark Day,
CMW,
Fatback Band,
Soulsonic Force,
Idris Muhammad,
Public Enemy, Public Enemy, Public Enemy, Public Enemy.
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.