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 Netherlands and from Jakarta.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Hong Kong and Copenhagen.
I'm losing my edge to the art-school Mexico City 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 marimba sounds with much patience.
I was there when Robert Palmer 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 The Last Poets 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 the Swans. All the underground hits.
All Sällskapet tracks. I heard you have a vinyl of every Vainqueur record on German import.
I heard that you have a white label of every seminal punk 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 an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Tubeway Army record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Essential Logic,
Bobby Hutcherson,
Kango’s Stein Massive,
Sight & Sound,
Joe Finger,
Quando Quango,
Kevin Saunderson,
Glambeats Corp.,
Blancmange,
Bob Dylan,
Alton Ellis,
X-Ray Spex,
Selector Dub Narcotic,
Aaron Thompson,
Marshall Jefferson,
Rod Modell,
Agitation Free,
Harmonia,
Lakeside,
The New Christs,
Underground Resistance,
Magazine,
Ultra Naté,
Kaleidoscope,
Morten Harket,
The Beau Brummels,
Franke,
Tom Boy,
The Trojans,
Gichy Dan,
Sex Pistols,
Jimmy McGriff,
Chrome,
The Selecter,
Brass Construction,
The Cosmic Jokers,
New Order,
Marcia Griffiths,
Lalann,
Gil Scott-Heron & Brian Jackson,
Das Ding,
The West Coast Pop Art Experimental Band,
Ultimate Spinach,
Electric Light Orchestra,
Don Cherry,
Masters at Work,
Theoretical Girls,
Arab on Radar,
Todd Rundgren,
Joensuu 1685,
Archie Shepp,
Suburban Knight,
Pierre Henry,
JFA,
Richard Hell and the Voidoids,
The Searchers,
Major Organ And The Adding Machine,
Eyeless In Gaza,
Barclay James Harvest,
Oneida,
The Fortunes,
Aloha Tigers,
Pantaleimon, Pantaleimon, Pantaleimon, Pantaleimon.
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.