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 Germany and from Accra.
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 1975.
I'm losing my edge.
To all the kids in Johannesburg and Bologna.
I'm losing my edge to the art-school Hong Kong 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 Bronski Beat practice in a loft in Brixton.
I was working on the organ 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 Ultravox to the rock 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 Arthur Verocai. All the underground hits.
All Maurizio tracks. I heard you have a vinyl of every Das Ding record on German import.
I heard that you have a white label of every seminal rock 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 snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
Charles Mingus,
Sight & Sound,
Mission of Burma,
Johnny Clarke,
X-101,
Terrestrial Tones,
Popol Vuh,
Peter and Kerry,
Buzzcocks,
Eric Copeland,
Lindisfarne,
Archie Shepp,
the Sonics,
Skriet,
Pharoah Sanders,
Curtis Mayfield,
Outsiders,
Procol Harum,
The Fire Engines,
Major Organ And The Adding Machine,
Mandrill,
Monks,
Joy Division,
the Soft Cell,
Crispian St. Peters,
Soul Sonic Force,
Grandmaster Flash,
Spandau Ballet,
Glambeats Corp.,
Dead Boys,
Amon Düül,
Jerry's Kids,
DJ Sneak,
Underground Resistance,
Darondo,
Juan Atkins,
Black Sheep,
Aswad,
Sonic Youth,
Half Japanese,
Pere Ubu,
R.M.O.,
Robert Hood,
48th St. Collective,
Eric Dolphy,
Ituana,
Ronan,
Donny Hathaway,
The Zeros,
Rosa Yemen,
The Wake,
Teenage Jesus and the Jerks,
Trumans Water,
Tubeway Army,
Bobby Sherman,
Neu!,
Super Lover Cee & Casanova Rud,
Vaughan Mason & Crew,
The Toasters,
Technova,
Index,
Bootsy Collins,
Davy DMX,
the Swans, the Swans, the Swans, the Swans.
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.