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 East Timor and from Shanghai.
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 1974.
I'm losing my edge.
To all the kids in Shanghai and Lille.
I'm losing my edge to the art-school Jakarta 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the harpsichord 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 Eyeless In Gaza to the jazz kids.
I played it at Trash.
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 Janne Schatter. All the underground hits.
All Kurtis Blow tracks. I heard you have a vinyl of every 48th St. Collective record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your oboe and bought a snare.
I hear that you and your band have sold your snare and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Hood,
Boredoms,
The Shadows of Knight,
Orchestral Manoeuvres in the Dark,
OOIOO,
Gong,
Mantronix,
Lou Christie,
The Gladiators,
DJ Style,
Saccharine Trust,
Siglo XX,
Audionom,
Sight & Sound,
The Buckinghams,
Howard Jones,
Banda Bassotti,
Kaleidoscope,
Mark Hollis,
MDC,
The Trojans,
R.M.O.,
Dead Boys,
Nik Kershaw,
Theoretical Girls,
The Royal Family And The Poor,
The Flesh Eaters,
Gil Scott-Heron & Brian Jackson,
Darondo,
Sunsets and Hearts,
Circle Jerks,
Jacques Brel,
Patti Smith,
KRS-One,
Index,
Oblivians,
The Raincoats,
Aswad,
John Foxx,
The Misunderstood,
Idris Muhammad,
Matthew Bourne,
Liliput,
Metal Thangz,
Ralphi Rosario,
Rotary Connection,
Joensuu 1685,
The Beau Brummels,
Gian Franco Pienzio,
Johnny Osbourne,
Depeche Mode,
Toni Rubio,
Big Daddy Kane,
Pantytec,
Magazine,
Richard Hell and the Voidoids,
Don Cherry,
Make Up,
Camron Feat. Memphis Bleek And Beenie Seigel,
Leonard Cohen,
The Index, The Index, The Index, The Index.
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.