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 Switzerland and from Beijing.
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 Bremen and London.
I'm losing my edge to the art-school Lagos 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 Lewis practice in a loft in Vancouver.
I was working on the güiro sounds with much patience.
I was there when Donald Fagen 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 Teenage Jesus and the Jerks to the funk kids.
I played it at the Spitz.
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 Soft Cell. All the underground hits.
All Ultra Naté tracks. I heard you have a vinyl of every Flamin' Groovies 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 '50s cut and another box set from the '80s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Kenny Larkin record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tom Boy,
The Birthday Party,
Q and Not U,
Icehouse,
Barry Ungar,
Q65,
Rotary Connection,
The Vogues,
The Real Kids,
Sam Rivers,
Scott Walker,
The Standells,
The Black Dice,
Boogie Down Productions,
Ralphi Rosario,
Audionom,
Thinking Fellers Union Local 282,
The Cramps,
Symarip,
Reagan Youth,
The Mummies,
Angry Samoans,
A Flock of Seagulls,
Peter and Kerry,
Roger Hodgson,
Mandrill,
Donald Byrd,
Fatback Band,
Camron Feat. Memphis Bleek And Beenie Seigel,
Sunsets and Hearts,
Swell Maps,
The Count Five,
Matthew Bourne,
Cecil Taylor,
Chris & Cosey,
Popol Vuh,
Ice-T,
Bang on a Can All-Stars,
Man Parrish,
DJ Style,
Lou Reed & John Cale,
Minnie Riperton,
Archie Shepp,
The J.B.'s,
DNA,
Sonny Sharrock,
Suburban Knight,
The Invisible,
Pylon,
Pole,
Bad Manners,
Kango’s Stein Massive,
Mad Mike,
The Young Rascals,
Rapeman,
The Shadows of Knight,
Eli Mardock,
Roy Ayers Ubiquity,
Interpol,
A Certain Ratio, A Certain Ratio, A Certain Ratio, A Certain Ratio.
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.