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 Ecuador and from Toronto.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Stockholm and Winnipeg.
I'm losing my edge to the art-school Stockholm 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the harpsichord 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 Boz Scaggs to the funk kids.
I played it at CBGB's.
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 Negative Approach. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every T. Rex record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Bobbi Humphrey record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Adolescents,
Bizarre Inc.,
Magazine,
Qualms,
Goldenarms,
Spoonie Gee,
De La Soul & Jungle Brothers,
Bill Wells,
Sonic Youth,
Parry Music,
The Dirtbombs,
MC5,
Arab on Radar,
The Cowsills,
John Holt,
Beasts of Bourbon,
The Fortunes,
The Martian,
the Fania All-Stars,
Iggy Pop,
Gil Scott-Heron & Brian Jackson,
The Mummies,
Bobby Hutcherson,
Stockholm Monsters,
DJ Style,
Derrick Morgan,
Thinking Fellers Union Local 282,
Bob Dylan,
Rhythm & Sound,
Thompson Twins,
Bill Near,
The Doors,
Gang Starr,
Lou Christie,
Justin Hinds & The Dominoes,
Au Pairs,
Sister Nancy,
Jacob Miller,
Godley & Creme,
Drive Like Jehu,
Todd Terry,
The Jesus and Mary Chain,
Hoover,
Saccharine Trust,
OOIOO,
David Axelrod,
Flipper,
Hardrive,
Scion,
The Walker Brothers,
The Modern Lovers,
Unrelated Segments,
Deakin,
Minnie Riperton,
Electric Prunes,
Flamin' Groovies,
Bronski Beat,
Kaleidoscope,
Wire,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.