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 Kenya 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 1964 to 1977.
I'm losing my edge.
To all the kids in Seoul and Philadelphia.
I'm losing my edge to the art-school Sao Paulo 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 spring reverb 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 Marc Almond to the funk kids.
I played it at the Roxy.
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 Lou Reed & Metallica. All the underground hits.
All Janne Schatter tracks. I heard you have a vinyl of every Colin Newman record on German import.
I heard that you have a white label of every seminal disco 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 synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Gang Dance,
Reuben Wilson,
Tears for Fears,
Oneida,
The Residents,
Derrick May,
Robert Hood,
Electric Prunes,
The West Coast Pop Art Experimental Band,
Rahsaan Roland Kirk,
Pylon,
Pulsallama,
The Zeros,
Ponytail,
Lower 48,
The Mummies,
It's A Beautiful Day,
Johnny Osbourne,
Livin' Joy,
The Gun Club,
Scion,
Monks,
Throbbing Gristle,
A Certain Ratio,
Kas Product,
The Vogues,
Ohio Players,
The Fire Engines,
Masters at Work,
Brass Construction,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
FM Einheit,
Matthew Halsall,
Vladislav Delay,
Bad Manners,
Tomorrow,
Marc Romboy vs. Booka Shade,
Echo & the Bunnymen,
Malaria!,
Johnny Clarke,
Camouflage,
Eden Ahbez,
The Velvet Underground,
Panda Bear,
Amazonics,
Marvin Gaye,
Kurtis Blow,
Los Fastidios,
Fat Boys,
Sexual Harrassment,
Archie Shepp,
Nas,
Dawn Penn,
Main Source,
Porter Ricks,
ABC,
Das Ding,
Metal Thangz,
Lightning Bolt,
Marc Almond,
Pere Ubu,
Sound Behaviour,
Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza.
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.