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 Afghanistan and from Madrid.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Delhi and Tehran.
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 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 Michael McDonald 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 Terry Callier to the disco kids.
I played it at the Hacienda.
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 Cluster. All the underground hits.
All Kurtis Blow tracks. I heard you have a vinyl of every Eli Mardock record on German import.
I heard that you have a white label of every seminal funk 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 güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Pierre Henry record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marcia Griffiths,
L. Decosne,
Motorama,
Intrusion,
Gichy Dan,
Be Bop Deluxe,
JFA,
Malaria!,
Terrestrial Tones,
Rufus Thomas,
Skarface,
Eyeless In Gaza,
Vaughan Mason & Crew,
Reuben Wilson,
Roy Ayers,
Idris Muhammad,
Liliput,
Todd Rundgren,
Jerry Gold Smith,
the Swans,
Kenny Larkin,
Avey Tare,
Make Up,
Peter and Kerry,
Pantaleimon,
Grandmaster Flash,
D'Angelo,
Terry Callier,
Tropical Tobacco,
Judy Mowatt,
Con Funk Shun,
Hoover,
Babytalk,
PIL,
Aural Exciters,
Carl Craig,
Ludus,
Bobby Womack,
Scratch Acid,
Nik Kershaw,
The Fire Engines,
Morten Harket,
Rapeman,
OOIOO,
Chris Corsano,
Todd Terry,
Whodini,
Siglo XX,
The Mighty Diamonds,
Erasure,
The Beau Brummels,
David Axelrod,
Robert Hood,
Gil Scott-Heron & Brian Jackson,
The Knickerbockers,
Parry Music,
Lou Reed & Metallica,
Andrew Ashong & Theo Parrish,
10cc,
Soul II Soul, Soul II Soul, Soul II Soul, Soul II Soul.
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.