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 Norway and from Hong Kong.
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 1966 to 1977.
I'm losing my edge.
To all the kids in London and Cairo.
I'm losing my edge to the art-school Houston 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the linndrum sounds with much patience.
I was there when Michael McDonald 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 Silicon Teens to the electroclash kids.
I played it at Cafe Wha.
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 Scion. All the underground hits.
All The Gories tracks. I heard you have a vinyl of every Art Ensemble Of Chicago record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a rhodes and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Womack record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thompson Twins,
Gary Puckett & The Union Gap,
Wings,
Rosa Yemen,
Lou Reed,
Max Romeo,
The Last Poets,
Liliput,
Bob Dylan,
Rahsaan Roland Kirk,
Marc Almond,
Tropical Tobacco,
Harpers Bizarre,
Ken Boothe,
Electric Light Orchestra,
PIL,
Ultravox,
Camberwell Now,
David Axelrod,
Prince Buster,
Sound Behaviour,
Thee Headcoats,
Gang Green,
The Leaves,
T. Rex,
Cecil Taylor,
Isaac Hayes,
Second Layer,
Clear Light,
Brothers Johnson,
New York Dolls,
The Mojo Men,
Drexciya,
Loose Ends,
Man Eating Sloth,
Depeche Mode,
R.M.O.,
Camouflage,
Lou Christie,
Suburban Knight,
Cheater Slicks,
The Stooges,
Frankie Knuckles,
Marc Romboy vs. Booka Shade,
Crash Course in Science,
The Flesh Eaters,
Patti Smith,
Desert Stars,
London Community Gospel Choir,
Radiopuhelimet,
Gian Franco Pienzio,
Terror Squad Feat. Camron,
Bang on a Can All-Stars,
Wally Richardson,
A Certain Ratio,
E-Dancer,
Iggy Pop,
Orchestral Manoeuvres in the Dark,
Wasted Youth,
Wire,
Altered Images,
Bizarre Inc.,
Blancmange,
Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids.
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.