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 Jordan and from Houston.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Jakarta.
I'm losing my edge to the art-school Spokane 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 1973 at the first Television practice in a loft in New York.
I was working on the arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 Ten City to the funk 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 Captain Beefheart & His Magic Band. All the underground hits.
All Deakin tracks. I heard you have a vinyl of every Yellowson record on German import.
I heard that you have a white label of every seminal crunk 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 marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Certain Ratio,
The Monochrome Set,
Suicide,
Lucky Dragons,
The Fire Engines,
Liaisons Dangereuses,
FM Einheit,
Terrestrial Tones,
The Alarm Clocks,
Lungfish,
Harmonia,
Jacques Brel,
Sunsets and Hearts,
Aural Exciters,
Röyhkä ja Rättö ja Lehtisalo,
Laurel Aitken,
OOIOO,
the Slits,
The Fortunes,
Sad Lovers and Giants,
Harry Pussy,
Dr. Dre and Snoop Doggy Dog,
Electric Prunes,
The Red Krayola,
The Human League,
kango's stein massive,
The Pretty Things,
Goldenarms,
Big Daddy Kane,
The Electric Prunes,
The Slackers,
The Smoke,
John Holt,
Hoover,
Blake Baxter,
T.S.O.L.,
Oblivians,
Gong,
The Sonics,
The Techniques,
Siouxsie and the Banshees,
Deadbeat,
Angry Samoans,
Jeff Mills,
Whodini,
Reagan Youth,
Organ,
Lonnie Liston Smith,
Marvin Gaye,
Amon Düül II,
Frankie Knuckles,
Art Ensemble Of Chicago,
Arab on Radar,
The Real Kids,
Wighnomy Brothers & Robag Wruhme,
Lakeside,
Saccharine Trust,
the Normal,
Intrusion,
Jesper Dahlbäck,
The Mighty Diamonds,
Byron Stingily,
Bobby Womack, Bobby Womack, Bobby Womack, Bobby Womack.
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.