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 Laos and from Columbus.
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 1974.
I'm losing my edge.
To all the kids in Bologna and Portland.
I'm losing my edge to the art-school Milan 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 at the first Suicide practice in a loft in New York.
I was working on the guitar sounds with much patience.
I was there when Holger Czukay 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 Rhythm & Sound to the disco 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 The Real Kids. All the underground hits.
All The Real Kids tracks. I heard you have a vinyl of every David Axelrod record on German import.
I heard that you have a white label of every seminal rap 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 spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Ronnie Foster record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q and Not U,
Barrington Levy,
Bob Dylan,
Lalann,
Bad Manners,
Minutemen,
The Durutti Column,
Leonard Cohen,
Cecil Taylor,
Marcia Griffiths,
Au Pairs,
Mars,
Ornette Coleman,
Niagra,
Kevin Saunderson,
Q65,
Graham Central Station,
CMW,
Camberwell Now,
Gil Scott Heron,
Tears for Fears,
The Slits,
The Invisible,
Cybotron,
The Sound,
The Mighty Diamonds,
Cal Tjader,
Notorious Big And Bone Thugs,
Al Stewart,
Thinking Fellers Union Local 282,
Hoover,
the Sonics,
Eve St. Jones,
8 Eyed Spy,
Michelle Simonal,
Curtis Mayfield,
The Names,
Glambeats Corp.,
Godley & Creme,
Gang Green,
the Bar-Kays,
The Dead C,
Quadrant,
The Seeds,
The Fugs,
Avey Tare's Slasher Flicks,
Terror Squad Feat. Camron,
June Days,
Barbara Tucker,
Crash Course in Science,
Black Bananas,
Lucky Dragons,
The Selecter,
Röyhkä ja Rättö ja Lehtisalo,
Yellowson,
Bobby Womack,
The Mojo Men,
Wasted Youth,
Rakim,
Max Romeo,
New York Dolls,
London Community Gospel Choir,
Pussy Galore,
Stereo Dub, Stereo Dub, Stereo Dub, Stereo Dub.
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.