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 Iran and from Columbus.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Tehran and Mumbai.
I'm losing my edge to the art-school Winnipeg 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the güiro sounds with much patience.
I was there when Tom Verlaine 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 Ice-T to the punk kids.
I played it at the 40 Watt.
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 Brass Construction. All the underground hits.
All Erasure tracks. I heard you have a vinyl of every The Dave Clark Five record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your oboe and bought a marimba.
I hear that you and your band have sold your marimba and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cecil Taylor,
Lyres,
Clear Light,
Ultra Naté,
Tom Boy,
Slave,
Grandmaster Flash,
Eve St. Jones,
Sex Pistols,
Sandy B,
the Fania All-Stars,
The Angels of Light,
James Chance & The Contortions,
The Moody Blues,
Tears for Fears,
Guru Guru,
Justin Hinds & The Dominoes,
Depeche Mode,
Qualms,
Hot Snakes,
The Fortunes,
Soft Machine,
Visage,
Fatback Band,
Desert Stars,
Deutsch Amerikanische Freundschaft,
Marshall Jefferson,
Mary Jane Girls,
Byron Stingily,
John Foxx,
Terry Callier,
The Knickerbockers,
Eyeless In Gaza,
Sexual Harrassment,
Heaven 17,
Freddie Wadling,
The Durutti Column,
John Lydon,
Circle Jerks,
Bang On A Can,
Tubeway Army,
Iggy Pop,
Thee Headcoats,
Man Parrish,
Rakim,
Sunsets and Hearts,
Buzzcocks,
Flash Fearless,
Crispian St. Peters,
The Names,
Index,
David McCallum,
T. Rex,
Matthew Bourne,
Franke,
Subhumans,
Spoonie Gee,
Altered Images,
Ralphi Rosario,
The Happenings,
Gil Scott Heron,
Lonnie Liston Smith,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.