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 Tonga and from Woodstock.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Madrid and Johannesburg.
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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the snare 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 Heavy D & The Boyz to the grime kids.
I played it at the 40 Watt.
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 Outsiders. All the underground hits.
All Sound Behaviour tracks. I heard you have a vinyl of every Barrington Levy record on German import.
I heard that you have a white label of every seminal grunge 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 spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Morten Harket record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Red Lorry Yellow Lorry,
Barry Ungar,
Alphaville,
Prince Buster,
Mary Jane Girls,
Barrington Levy,
Metal Thangz,
Tom Boy,
Eli Mardock,
Black Sheep,
The Dead C,
The Moleskins,
Sonny Sharrock,
Technova,
48th St. Collective,
Urselle,
Cybotron,
Boz Scaggs,
One Last Wish,
London Community Gospel Choir,
The Modern Lovers,
Heaven 17,
Interpol,
Sight & Sound,
Barbara Tucker,
Jimmy McGriff,
Pole,
Gian Franco Pienzio,
Wire,
Skriet,
Maurizio,
The Offenders,
Nik Kershaw,
Eurythmics,
Visage,
Sunsets and Hearts,
Soft Machine,
Massinfluence,
Lebanon Hanover,
Spoonie Gee,
Basic Channel,
Public Enemy,
Faraquet,
Shuggie Otis,
Eddi Front,
Frankie Knuckles,
DNA,
Country Teasers,
Television,
Pantytec,
Crispian St. Peters,
Leonard Cohen,
Electric Light Orchestra,
Black Bananas,
The Pop Group,
John Cale,
8 Eyed Spy,
Ash Ra Tempel,
Throbbing Gristle,
Moss Icon,
The Invisible,
The Real Kids, The Real Kids, The Real Kids, The Real Kids.
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.