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 Philippines and from Winnipeg.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Houston and Spokane.
I'm losing my edge to the art-school Bremen 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 linndrum sounds with much patience.
I was there when Nile Rodgers 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 Model 500 to the dance kids.
I played it at CBGB's.
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 Dead Boys. All the underground hits.
All Fear tracks. I heard you have a vinyl of every Bill Near 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 '50s cut and another box set from the '90s.
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 Model 500 record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharaoh Sanders and the Fire Engines,
Andrew Hill,
Archie Shepp,
Spoonie Gee,
The Kinks,
Delon & Dalcan,
The Motions,
Erykah Badu,
Terrestrial Tones,
Byron Stingily,
These Immortal Souls,
X-101,
the Bar-Kays,
Saccharine Trust,
Gil Scott-Heron & Brian Jackson,
Lalo Schifrin,
Beasts of Bourbon,
Arab on Radar,
Patti Smith,
Swell Maps,
Guru Guru,
MDC,
Johnny Osbourne,
Erasure,
Kas Product,
The Evens,
Crispian St. Peters,
Matthew Halsall,
Marmalade,
Vladislav Delay,
X-102,
Pantytec,
Angry Samoans,
The Dead C,
The Dirtbombs,
Arcadia,
Hashim,
the Normal,
Audionom,
Accadde A,
Public Image Ltd.,
Suburban Knight,
PIL,
Reuben Wilson,
Lalann,
Dawn Penn,
Malaria!,
Gian Franco Pienzio,
Monks,
Kenny Larkin,
Hasil Adkins,
Gang Green,
Wally Richardson,
Grandmaster Flash and the Furious Five,
Gang Gang Dance,
Kerri Chandler,
Popol Vuh,
Country Teasers,
The Litter,
Kango’s Stein Massive,
Ludus,
Gang Starr,
Hardrive, Hardrive, Hardrive, Hardrive.
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.