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 India and from Delhi.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Lyon and Shanghai.
I'm losing my edge to the art-school Toronto 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the snare 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 Bang on a Can All-Stars to the punk kids.
I played it at Cafe Wha.
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 Q and Not U. All the underground hits.
All Strawberry Alarm Clock tracks. I heard you have a vinyl of every Harmonia record on German import.
I heard that you have a white label of every seminal techno 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 a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Jeru the Damaja record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camron Feat. Memphis Bleek And Beenie Seigel,
A Flock of Seagulls,
Maleditus Sound,
The Invisible,
The Durutti Column,
Oblivians,
UT,
Soul Sonic Force,
The Busters,
Eric Copeland,
Rotary Connection,
Rakim,
Radiopuhelimet,
Robert Hood,
Ronnie Foster,
Alice Coltrane,
Jeff Mills,
the Association,
James White and The Blacks,
Ohio Players,
Warsaw,
The Index,
The Leaves,
Albert Ayler,
Agent Orange,
Y Pants,
Eve St. Jones,
Sexual Harrassment,
Joyce Sims,
Bobby Sherman,
The Walker Brothers,
Joe Smooth,
Drexciya,
Sunsets and Hearts,
Fatback Band,
Jerry's Kids,
The Count Five,
China Crisis,
Gerry Rafferty,
Ash Ra Tempel,
Laurel Aitken,
Second Layer,
Donald Byrd,
Country Joe & The Fish,
Dennis Brown,
Angels of Light & Akron/Family,
Pete Rock & C.L. Smooth,
The Martian,
Qualms,
Robert Görl,
James Chance & The Contortions,
Marvin Gaye,
Zapp,
Negative Approach,
Blancmange,
The Alarm Clocks,
Jawbox,
Stereo Dub,
Trumans Water,
The Selecter,
Warren Ellis,
Darondo,
Robert Wyatt,
Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe.
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.