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 Manila.
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 1970.
I'm losing my edge.
To all the kids in Philadelphia and Portland.
I'm losing my edge to the art-school Seoul 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 mellotron sounds with much patience.
I was there when Michael McDonald 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 Mummies to the rap kids.
I played it at Trash.
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 Scan 7. All the underground hits.
All Gil Scott-Heron & Brian Jackson tracks. I heard you have a vinyl of every Isaac Hayes record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
ABBA,
Danielle Patucci,
Johnny Osbourne,
Bobbi Humphrey,
Babytalk,
Lee Hazlewood,
The Selecter,
Radiohead,
The Fire Engines,
Barry Ungar,
The Modern Lovers,
Au Pairs,
Nick Fraelich,
the Slits,
Talk Talk,
KRS-One,
Graham Central Station,
Tomorrow,
Sugar Minott,
X-101,
Shuggie Otis,
The Dead C,
Spoonie Gee,
U.S. Maple,
Bill Near,
Marmalade,
A Flock of Seagulls,
Marc Almond,
Essential Logic,
Eddi Front,
The Associates,
Yazoo,
Judy Mowatt,
Oneida,
Black Flag,
The Gladiators,
Clear Light,
Agitation Free,
Aaron Thompson,
Adolescents,
Camouflage,
Tears for Fears,
Pet Shop Boys,
Warren Ellis,
Wings,
Audionom,
The Fortunes,
Oppenheimer Analysis,
JFA,
Chrome,
Sarah Menescal,
Ultravox,
Ralphi Rosario,
Alison Limerick,
Sexual Harrassment,
Erasure,
John Cale,
Lou Reed,
The Doobie Brothers,
Howard Jones,
Major Organ And The Adding Machine,
Ultra Naté,
Harpers Bizarre,
The Searchers, The Searchers, The Searchers, The Searchers.
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.