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 Australia and from Sao Paulo.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1968 to 1977.
I'm losing my edge.
To all the kids in London and Salvador.
I'm losing my edge to the art-school London 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 spring reverb 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 Blues Magoos 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 Glenn Branca. All the underground hits.
All OOIOO tracks. I heard you have a vinyl of every Nas 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 '70s cut and another box set from the '70s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quando Quango,
The Music Machine,
Idris Muhammad,
Scan 7,
B.T. Express,
John Cale,
The Jesus and Mary Chain,
Mantronix,
Bizarre Inc.,
Bobby Sherman,
Mo-Dettes,
Pharoah Sanders,
Mr. Review,
Visage,
Howard Jones,
Warsaw,
E-Dancer,
Gang of Four,
Michelle Simonal,
Television,
the Slits,
Girls At Our Best!,
Au Pairs,
Cabaret Voltaire,
Harmonia,
Electric Light Orchestra,
Camberwell Now,
Brass Construction,
Basic Channel,
Peter Gordon & Love of Life Orchestra,
Gian Franco Pienzio,
The Men They Couldn't Hang,
Frankie Knuckles,
Wings,
The Fall,
Icehouse,
KRS-One,
Soulsonic Force,
The Durutti Column,
Ronnie Foster,
It's A Beautiful Day,
Suburban Knight,
Jeff Lynne,
The West Coast Pop Art Experimental Band,
Alison Limerick,
Little Man,
Dead Boys,
Cal Tjader,
Pere Ubu,
Stockholm Monsters,
Lalo Schifrin,
The Velvet Underground,
Susan Cadogan,
Rakim,
Bobby Hutcherson,
Jacques Brel,
The Slackers,
Cluster,
Brand Nubian,
Glambeats Corp.,
Fad Gadget, Fad Gadget, Fad Gadget, Fad Gadget.
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.