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 Senegal and from Johannesburg.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Philadelphia and Manila.
I'm losing my edge to the art-school Salvador 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 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 The Wake to the rock kids.
I played it at the Spitz.
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 Drive Like Jehu. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every The Royal Family And The Poor 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 '80s cut and another box set from the '90s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mad Mike,
The Smoke,
Rotary Connection,
Avey Tare's Slasher Flicks,
Monks,
Nirvana,
Alice Coltrane,
Man Parrish,
Soul II Soul,
Deadbeat,
Circle Jerks,
Johnny Clarke,
Skriet,
X-102,
Lou Reed & Metallica,
Tim Buckley,
Thompson Twins,
Connie Case,
Amazonics,
Country Joe & The Fish,
Oppenheimer Analysis,
Barry Ungar,
The Human League,
Massinfluence,
The Raincoats,
Underground Resistance,
Stiv Bators,
Glambeats Corp.,
Sun Ra Arkestra,
Boredoms,
Gerry Rafferty,
Sparks,
Rekid,
The Men They Couldn't Hang,
Eurythmics,
Pantytec,
Mantronix,
Art Ensemble Of Chicago,
The Selecter,
Jandek,
The West Coast Pop Art Experimental Band,
Blossom Toes,
Piero Umiliani,
The Young Rascals,
Godley & Creme,
The Gap Band,
Heavy D & The Boyz,
Monolake,
Bang on a Can All-Stars,
Jeru the Damaja,
Crooked Eye,
Larry & the Blue Notes,
Eden Ahbez,
Tropical Tobacco,
F. McDonald,
Peter & Gordon,
Radiopuhelimet,
Kayak,
These Immortal Souls,
Moby Grape,
The Buckinghams,
Infiniti,
Wasted Youth,
Chrome, Chrome, Chrome, Chrome.
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.