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 Angola and from London.
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 1961 to 1976.
I'm losing my edge.
To all the kids in London and Jakarta.
I'm losing my edge to the art-school Beijing 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 Lewis practice in a loft in Vancouver.
I was working on the 808 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 The Tremeloes to the techno kids.
I played it at the Astoria.
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 Los Fastidios. All the underground hits.
All Bluetip tracks. I heard you have a vinyl of every The Count Five 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 '80s cut and another box set from the '70s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Angels of Light record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sugar Minott,
Minnie Riperton,
Mo-Dettes,
Bad Manners,
Rakim,
the Bar-Kays,
The New Christs,
The Move,
Albert Ayler,
Brothers Johnson,
Mad Mike,
Nik Kershaw,
Jeff Lynne,
The Men They Couldn't Hang,
Gang Gang Dance,
L. Decosne,
Soulsonic Force,
The Moleskins,
UT,
The Slits,
The Evens,
Scion,
Slick Rick,
The Skatalites,
Wally Richardson,
Half Japanese,
MC5,
The Sonics,
Franke,
Loose Ends,
Soft Cell,
Kenny Larkin,
Echospace,
Flamin' Groovies,
Jawbox,
Dark Day,
Barbara Tucker,
The Invisible,
DJ Style,
Duran Duran,
Grandmaster Flash and the Furious Five,
Thompson Twins,
Isaac Hayes,
Janne Schatter,
The Busters,
Electric Light Orchestra,
Simply Red,
Visionaries,LMNO, T- Love & Iriscience,
Intrusion,
Mandrill,
Captain Beefheart & His Magic Band,
Kings Of Tomorrow,
The Grass Roots,
Bang on a Can All-Stars,
Strawberry Alarm Clock,
Barry Ungar,
Bill Near,
Harry Pussy,
John Lydon,
Brand Nubian,
Visage,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.