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 Bangladesh and from Glasgow.
But I was there.
I was there in 1973.
I was there at the first Television 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 1968 to 1970.
I'm losing my edge.
To all the kids in Spokane and Stockholm.
I'm losing my edge to the art-school Shanghai 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 Lou Reed 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 Joensuu 1685 to the funk kids.
I played it at the Troubador.
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 Cymande. All the underground hits.
All Prince Buster tracks. I heard you have a vinyl of every Deepchord record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fuzztones,
Radiopuhelimet,
Buzzcocks,
Supertramp,
Soul Sonic Force,
Angry Samoans,
Dorothy Ashby,
Don Cherry,
Boredoms,
Bang on a Can All-Stars,
The Mighty Diamonds,
Adolescents,
The Modern Lovers,
The Mummies,
Lebanon Hanover,
Boz Scaggs,
Captain Beefheart & His Magic Band,
It's A Beautiful Day,
Kaleidoscope,
Archie Shepp,
Easy Going,
Donald Byrd,
Metal Thangz,
Moss Icon,
the Swans,
UT,
Louis and Bebe Barron,
Minor Threat,
Scan 7,
Mantronix,
Todd Rundgren,
Nas,
Terrestrial Tones,
Dead Boys,
The American Breed,
Sparks,
Harpers Bizarre,
Rites of Spring,
Shoche,
Cabaret Voltaire,
James White and The Blacks,
The Golliwogs,
Stereo Dub,
The Monks,
Bronski Beat,
Alice Coltrane,
The Men They Couldn't Hang,
The Detroit Cobras,
E-Dancer,
Mission of Burma,
Pete Rock & C.L. Smooth,
Depeche Mode,
Marvin Gaye,
Country Joe & The Fish,
Selector Dub Narcotic,
Visage,
Lakeside,
Jeff Lynne,
Ultramagnetic MC's,
The Busters,
The Fire Engines,
a-ha,
Harry Pussy,
The Smoke, The Smoke, The Smoke, The Smoke.
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.