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 Australia and from Stockholm.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Jakarta and Houston.
I'm losing my edge to the art-school Taipei 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 chamberlin sounds with much patience.
I was there when Holger Czukay 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 Grass Roots to the rock 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 Pharaoh Sanders and the Fire Engines. All the underground hits.
All Dual Sessions tracks. I heard you have a vinyl of every Erykah Badu 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 '80s cut and another box set from the '90s.
I hear you're buying an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Doobie Brothers record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
Barry Ungar,
Pete Rock & C.L. Smooth,
Joyce Sims,
Maurizio,
Man Parrish,
Television,
Television Personalities,
The Fire Engines,
The Flesh Eaters,
Erykah Badu,
48th St. Collective,
Lucky Dragons,
Beasts of Bourbon,
Urselle,
Brand Nubian,
The American Breed,
Prince Buster,
Camron Feat. Memphis Bleek And Beenie Seigel,
Lebanon Hanover,
D'Angelo,
Outsiders,
The Star Department,
Lizzy Mercier Descloux,
The Stooges,
The Wake,
The Sound,
Dawn Penn,
Animal Collective,
Tim Buckley,
F. McDonald,
The Chocolate Watch Band,
The Mummies,
The Cowsills,
Joensuu 1685,
Quando Quango,
Oppenheimer Analysis,
The Saints,
Tres Demented,
The Selecter,
Gerry Rafferty,
Drive Like Jehu,
Louis and Bebe Barron,
The New Christs,
Funky Four + One,
Silicon Teens,
Ponytail,
The United States of America,
Half Japanese,
Notorious BIG live in Amsterdam,
Super Lover Cee & Casanova Rud,
The Slackers,
New Age Steppers,
Ash Ra Tempel,
Scott Walker,
Sarah Menescal,
Marvin Gaye,
The Leaves,
Depeche Mode,
Harpers Bizarre, Harpers Bizarre, Harpers Bizarre, Harpers Bizarre.
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.