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 Palau and from Tokyo.
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 1975.
I'm losing my edge.
To all the kids in Hong Kong and Manila.
I'm losing my edge to the art-school Paris 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 clarinet 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 These Immortal Souls to the funk kids.
I played it at the Crocodile.
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 Sparks. All the underground hits.
All Underground Resistance tracks. I heard you have a vinyl of every Alton Ellis record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Technova record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Los Fastidios,
A Flock of Seagulls,
Michelle Simonal,
London Community Gospel Choir,
Vainqueur,
R.M.O.,
The Birthday Party,
Das Ding,
FM Einheit,
Ajijia Myrayebe,
Black Moon,
Tomorrow,
Cheater Slicks,
Carl Craig,
Kings Of Tomorrow,
Jacques Brel,
Crime,
Jesper Dahlback,
The Jesus and Mary Chain,
Sandy B,
Drive Like Jehu,
The Detroit Cobras,
Masters at Work,
Deadbeat,
a-ha,
Ohio Players,
Ludus,
Eurythmics,
Dave Gahan,
the Germs,
ABBA,
Hoover,
Soul II Soul,
Mo-Dettes,
Selector Dub Narcotic,
Make Up,
Dorothy Ashby,
D'Angelo,
Fluxion,
Throbbing Gristle,
Siouxsie and the Banshees,
Don Cherry,
Fela Kuti,
Gang Starr,
Roger Hodgson,
Pharaoh Sanders and the Fire Engines,
Mantronix,
Soft Cell,
New York Dolls,
Sixth Finger,
Kool Moe Dee,
Bang on a Can All-Stars,
Magma,
The Wake,
Marvin Gaye,
Royal Trux,
David Axelrod,
Jeff Lynne,
Fatback Band,
Lalann,
Notorious BIG live in Amsterdam,
Judy Mowatt,
Sly & The Family Stone,
The Smoke, The Smoke, The Smoke, The Smoke.
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.