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 Kiribati and from Milan.
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 1978.
I'm losing my edge.
To all the kids in Madrid and Hong Kong.
I'm losing my edge to the art-school Accra 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 guitar 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 David Axelrod to the punk kids.
I played it at Cafe Wha.
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 Grauzone. All the underground hits.
All Marmalade tracks. I heard you have a vinyl of every Ituana 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 '60s cut and another box set from the '80s.
I hear you're buying an organ and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a CMW record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scrapy,
Lonnie Liston Smith,
The Real Kids,
Crime,
Inner City,
Eli Mardock,
Sonic Youth,
Bobby Womack,
Interpol,
Dark Day,
Strawberry Alarm Clock,
Yusef Lateef,
Matthew Bourne,
Agitation Free,
Funkadelic,
Glambeats Corp.,
Slave,
The Blues Magoos,
FM Einheit,
Curtis Mayfield,
Cal Tjader,
Scion,
cv313,
Wolf Eyes,
Spoonie Gee,
The Standells,
The Martian,
Lakeside,
Piero Umiliani,
Pere Ubu,
The Victims,
Flamin' Groovies,
John Foxx,
Bobby Sherman,
The Royal Family And The Poor,
Model 500,
Barrington Levy,
Brick,
DeepChord presents Echospace,
London Community Gospel Choir,
Babytalk,
Moebius,
Rod Modell,
The Techniques,
Harmonia,
Jesper Dahlbäck,
Stiv Bators,
Andrew Hill,
Colin Newman,
Lalann,
Gang Starr,
The Gap Band,
Electric Light Orchestra,
Technova,
Tommy Roe,
Pete Rock & C.L. Smooth,
Sällskapet,
The Mummies,
48th St. Collective,
Thee Headcoats, Thee Headcoats, Thee Headcoats, Thee Headcoats.
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.