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 Antigua and from Jakarta.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1976.
I'm losing my edge.
To all the kids in London and Philadelphia.
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 synthesizer sounds with much patience.
I was there when Lou Reed 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 Kool G Rap & DJ Polo to the electroclash kids.
I played it at the Astoria.
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 Ralphi Rosario. All the underground hits.
All AZ tracks. I heard you have a vinyl of every Camberwell Now record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kaleidoscope,
Curtis Mayfield,
Panda Bear,
Pantaleimon,
Notorious Big And Bone Thugs,
X-101,
Jacques Brel,
La Düsseldorf,
Visage,
Rekid,
Thee Headcoats,
Rowland S Howard / Lydia Lunch,
New Order,
The Birthday Party,
B.T. Express,
Leonard Cohen,
Dorothy Ashby,
X-Ray Spex,
Ralphi Rosario,
The Blackbyrds,
Kings Of Tomorrow,
Patti Smith,
Pantytec,
Drexciya,
Matthew Bourne,
David McCallum,
Technova,
Pussy Galore,
Ornette Coleman,
Roger Hodgson,
The Men They Couldn't Hang,
Wolf Eyes,
Marcia Griffiths,
Lucky Dragons,
Cluster,
Avey Tare & Kría Brekkan,
Rites of Spring,
Tears for Fears,
Brass Construction,
Orchestral Manoeuvres in the Dark,
Unwound,
H. Thieme,
The Music Machine,
Lizzy Mercier Descloux,
Dave Gahan,
The Pretty Things,
The Toasters,
48th St. Collective,
Radio Birdman,
Mark Hollis,
Tim Buckley,
Justin Hinds & The Dominoes,
U.S. Maple,
Bauhaus,
Japan,
The United States of America,
Shoche,
Pet Shop Boys,
Grandmaster Flash,
Heavy D & The Boyz,
One Last Wish, One Last Wish, One Last Wish, One Last Wish.
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.