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 Brazil and from Houston.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1976.
I'm losing my edge.
To all the kids in Delhi and Portland.
I'm losing my edge to the art-school Salvador 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 chamberlin 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 Girls At Our Best! to the punk 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 Fatback Band. All the underground hits.
All The Happenings tracks. I heard you have a vinyl of every Ornette Coleman 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 '70s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Marc Almond record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joey Negro,
Negative Approach,
Electric Light Orchestra,
Deakin,
The Cosmic Jokers,
Model 500,
Tears for Fears,
The Fall,
Gil Scott Heron,
The Shadows of Knight,
Juan Atkins,
The Gap Band,
The Flesh Eaters,
Alice Coltrane,
Camouflage,
Bill Wells,
Minor Threat,
Marvin Gaye,
Liaisons Dangereuses,
The Misunderstood,
Nation of Ulysses,
Kaleidoscope,
the Bar-Kays,
Lebanon Hanover,
The Last Poets,
Ornette Coleman,
Curtis Mayfield,
Sandy B,
Mission of Burma,
Visionaries,LMNO, T- Love & Iriscience,
Country Joe & The Fish,
The Chocolate Watch Band,
Delon & Dalcan,
Notorious BIG live in Amsterdam,
Hoover,
Swell Maps,
Jeff Mills,
Agitation Free,
Camron Feat. Memphis Bleek And Beenie Seigel,
Harmonia,
Massinfluence,
Deadbeat,
Gregory Isaacs,
Scrapy,
Hardrive,
Rahsaan Roland Kirk,
Roger Hodgson,
Pierre Henry,
Lakeside,
Tim Buckley,
The Doors,
Pussy Galore,
Bill Near,
Radiopuhelimet,
Dennis Brown,
Visage,
Clear Light,
Godley & Creme,
Chris & Cosey,
Cameo,
Barrington Levy,
Wings, Wings, Wings, Wings.
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.