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 Peru and from Beijing.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Madrid and Paris.
I'm losing my edge to the art-school Tehran 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 guitar sounds with much patience.
I was there when Nile Rodgers 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 In Retrospect to the rock kids.
I played it at the Astoria.
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 Qualms. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every Tommy Roe record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Massinfluence record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monolake,
Tropical Tobacco,
Delon & Dalcan,
Liaisons Dangereuses,
Model 500,
Intrusion,
Easy Going,
The Buckinghams,
The Peanut Butter Conspiracy,
the Human League,
Thee Headcoats,
Q65,
Kas Product,
New York Dolls,
Audionom,
Kurtis Blow,
Infiniti,
Sight & Sound,
The Walker Brothers,
The Remains,
Pete Rock & C.L. Smooth,
The Count Five,
Colin Newman,
Richard Hell and the Voidoids,
Ice-T,
Country Joe & The Fish,
Arcadia,
Sonic Youth,
This Heat,
Minny Pops,
China Crisis,
Kaleidoscope,
Eurythmics,
Justin Hinds & The Dominoes,
CMW,
Mr. Review,
the Slits,
DeepChord presents Echospace,
Niagra,
Livin' Joy,
Echo & the Bunnymen,
The Gap Band,
Animal Collective,
The Last Poets,
Michelle Simonal,
Archie Shepp,
Rapeman,
The Beau Brummels,
Main Source,
Piero Umiliani,
Crooked Eye,
Lindisfarne,
Roxy Music,
Sixth Finger,
Byron Stingily,
Letta Mbulu,
Juan Atkins,
Bootsy Collins,
Brass Construction,
Rowland S Howard / Lydia Lunch,
Silicon Teens,
Jesper Dahlbäck,
Lee Hazlewood,
Newcleus, Newcleus, Newcleus, Newcleus.
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.