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 Fiji and from Paris.
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 1978.
I'm losing my edge.
To all the kids in Houston and Cairo.
I'm losing my edge to the art-school Lille 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the chamberlin 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 Masta Ace, Craig G, Kool G Rap, Big Daddy Kane to the jazz kids.
I played it at the Troubador.
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 Marcia Griffiths. All the underground hits.
All John Foxx tracks. I heard you have a vinyl of every Amazonics 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 '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Interpol 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?
The Index,
Interpol,
John Cale,
Bobby Hutcherson,
Clear Light,
Grandmaster Flash,
Blake Baxter,
Joey Negro,
The Grass Roots,
The Sound,
Glambeats Corp.,
Minnie Riperton,
A Certain Ratio,
Rowland S Howard / Lydia Lunch,
Slave,
Newcleus,
The Barracudas,
Sandy B,
The Vogues,
The American Breed,
Hashim,
Howard Jones,
Supertramp,
Public Image Ltd.,
Wally Richardson,
Quando Quango,
The Standells,
Subhumans,
Lou Reed & John Cale,
Lizzy Mercier Descloux,
Procol Harum,
Patti Smith,
Man Parrish,
The Moleskins,
The Doors,
Jandek,
Royal Trux,
Sam Rivers,
Barrington Levy,
Loose Ends,
Excepter,
Judy Mowatt,
Minor Threat,
These Immortal Souls,
Isaac Hayes,
Sixth Finger,
Parry Music,
Kevin Saunderson,
Wighnomy Brothers & Robag Wruhme,
Danielle Patucci,
UT,
Gastr Del Sol,
Soul Sonic Force,
Electric Prunes,
Banda Bassotti,
Neu!,
Maurizio,
The Names,
Magazine,
The Mummies,
Youth Brigade,
The Cramps,
The Cowsills,
A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls.
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.