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 Serbia and from Woodstock.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Tehran and Sao Paulo.
I'm losing my edge to the art-school Delhi 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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Tremeloes to the electroclash 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 Man Eating Sloth. All the underground hits.
All Lightning Bolt tracks. I heard you have a vinyl of every Ultimate Spinach record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Martian,
The Techniques,
Gary Puckett & The Union Gap,
Angels of Light & Akron/Family,
The Beau Brummels,
Ornette Coleman,
Arcadia,
Amazonics,
ABBA,
Sparks,
The Selecter,
Audionom,
The Pop Group,
Jandek,
Super Lover Cee & Casanova Rud,
Supertramp,
Interpol,
Lebanon Hanover,
T.S.O.L.,
Ituana,
The Men They Couldn't Hang,
Josef K,
The Doors,
The Star Department,
Barrington Levy,
Simply Red,
Todd Rundgren,
the Human League,
Echospace,
Cameo,
Jeru the Damaja,
Can,
Sunsets and Hearts,
Half Japanese,
Rekid,
Alton Ellis,
EPMD,
Danielle Patucci,
Ultimate Spinach,
The Move,
Popol Vuh,
The Toasters,
Easy Going,
The Slackers,
the Slits,
Mary Jane Girls,
Mo-Dettes,
Tomorrow,
Royal Trux,
Thinking Fellers Union Local 282,
The Cosmic Jokers,
the Fania All-Stars,
The Gladiators,
The Cowsills,
A Certain Ratio,
Ludus,
Wighnomy Brothers & Robag Wruhme,
Slick Rick,
Roy Ayers Ubiquity,
Roxy Music,
Camouflage,
Gil Scott-Heron & Brian Jackson,
Ken Boothe, Ken Boothe, Ken Boothe, Ken Boothe.
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.