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 Luxembourg and from Spokane.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Manila and Salvador.
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 oboe 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 The Sound to the rock kids.
I played it at the Roxy.
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 Faraquet. All the underground hits.
All Andrew Ashong & Theo Parrish tracks. I heard you have a vinyl of every Warren Ellis record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Doors record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Section 25,
Maleditus Sound,
Rhythm & Sound,
Easy Going,
Popol Vuh,
Spandau Ballet,
Lou Reed,
Heavy D & The Boyz,
Man Eating Sloth,
Buzzcocks,
Alice Coltrane,
Hardrive,
The Index,
Crash Course in Science,
Circle Jerks,
The Modern Lovers,
Agent Orange,
The Buckinghams,
The Gap Band,
Panda Bear,
Minor Threat,
Sex Pistols,
One Last Wish,
Sarah Menescal,
Stereo Dub,
Bobbi Humphrey,
Icehouse,
Notorious BIG live in Amsterdam,
Excepter,
The Trojans,
Zapp,
Arab on Radar,
Lungfish,
Bobby Byrd,
Skriet,
Whodini,
Bobby Hutcherson,
The Neon Judgement,
Bootsy Collins,
Barry Ungar,
Dave Gahan,
Main Source,
The Count Five,
U.S. Maple,
Orchestral Manoeuvres in the Dark,
F. McDonald,
Groovy Waters,
Hashim,
Alison Limerick,
Gil Scott-Heron & Brian Jackson,
E-Dancer,
The Detroit Cobras,
Electric Prunes,
Lyres,
Suicide,
Radiopuhelimet,
Pulsallama,
Scott Walker,
The Cramps,
Ultimate Spinach,
New Age Steppers,
Judy Mowatt,
Aaron Thompson,
Ash Ra Tempel,
Eric Copeland, Eric Copeland, Eric Copeland, Eric Copeland.
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.