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 Gambia and from Portland.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and Salvador.
I'm losing my edge to the art-school Lille 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the theremin 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 Faraquet to the rap kids.
I played it at CBGB's.
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 Germs. All the underground hits.
All Aswad tracks. I heard you have a vinyl of every The Kinks record on German import.
I heard that you have a white label of every seminal disco 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 mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Fad Gadget record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siglo XX,
Oneida,
Los Fastidios,
Gang of Four,
Monks,
The Velvet Underground,
Amon Düül II,
Rotary Connection,
Hardrive,
Thompson Twins,
The Fortunes,
The Selecter,
Circle Jerks,
Bizarre Inc.,
T.S.O.L.,
Pantytec,
Lyres,
Gastr Del Sol,
Peter and Kerry,
Barbara Tucker,
Frankie Knuckles,
Japan,
Stiv Bators,
Stetsasonic,
The Offenders,
The Alarm Clocks,
Gang Starr,
The Electric Prunes,
Lonnie Liston Smith,
Tomorrow,
Traffic Nightmare,
Bootsy Collins,
Bootsy's Rubber Band,
Soft Machine,
Nation of Ulysses,
Neu!,
Moebius,
The Knickerbockers,
The Doobie Brothers,
Tears for Fears,
The Busters,
Talk Talk,
Juan Atkins,
Todd Rundgren,
Patti Smith,
ABC,
The Blackbyrds,
T. Rex,
L. Decosne,
DNA,
Scott Walker,
Angels of Light & Akron/Family,
Yusef Lateef,
Graham Central Station,
Chris & Cosey,
Brass Construction,
Sad Lovers and Giants,
The Gories,
Throbbing Gristle,
Mantronix,
Toni Rubio,
X-Ray Spex,
Television Personalities, Television Personalities, Television Personalities, Television Personalities.
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.