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 Yemen and from Jakarta.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Portland.
I'm losing my edge to the art-school Cairo 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 at the first Suicide practice in a loft in New York.
I was working on the snare sounds with much patience.
I was there when Captain Beefheart 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 Masters at Work to the punk 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 Bluetip. All the underground hits.
All Pole tracks. I heard you have a vinyl of every Bang On A Can 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 '90s.
I hear you're buying a 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Pus,
H. Thieme,
Barry Ungar,
Infiniti,
Public Enemy,
Marmalade,
Lafayette Afro Rock Band,
Blancmange,
Soft Cell,
Davy DMX,
Circle Jerks,
The Pretty Things,
Grauzone,
B.T. Express,
Black Flag,
Procol Harum,
Nation of Ulysses,
Sight & Sound,
Robert Hood,
Bronski Beat,
Fluxion,
Kayak,
Funky Four + One,
Absolute Body Control,
Magma,
The Litter,
Jesper Dahlback,
Lizzy Mercier Descloux,
Deepchord,
Liliput,
Pylon,
David McCallum,
World's Most,
Rapeman,
X-102,
The Index,
Easy Going,
Delon & Dalcan,
Jawbox,
Mars,
Eric Copeland,
The Dave Clark Five,
D'Angelo,
Robert Wyatt,
the Normal,
Technova,
UT,
The Motions,
the Germs,
The Monochrome Set,
Morten Harket,
Skarface,
Boz Scaggs,
Jimmy McGriff,
Kings Of Tomorrow,
Pete Rock & C.L. Smooth,
Reagan Youth,
Eve St. Jones,
Fear,
Public Image Ltd.,
Byron Stingily, Byron Stingily, Byron Stingily, Byron Stingily.
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.