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 Finland and from Shanghai.
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 1973.
I'm losing my edge.
To all the kids in Mexico City and Edmonton.
I'm losing my edge to the art-school Houston 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 chamberlin sounds with much patience.
I was there when Lou Reed 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 Strawberry Alarm Clock to the electroclash 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 Adolescents. All the underground hits.
All Sun Ra tracks. I heard you have a vinyl of every Japan record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Peanut Butter Conspiracy,
The Beau Brummels,
Grandmaster Flash and the Furious Five,
The Moleskins,
A Flock of Seagulls,
The Doobie Brothers,
Skaos,
Agent Orange,
Radiohead,
Technova,
the Germs,
Letta Mbulu,
Outsiders,
Aloha Tigers,
Kerri Chandler,
Rekid,
The Sound,
Kango’s Stein Massive,
Nick Cave & The Bad Seeds,
Accadde A,
Spoonie Gee,
Symarip,
Sonny Sharrock,
The Remains,
The Fire Engines,
Royal Trux,
Nas,
Black Pus,
Joe Finger,
Zapp,
Sticky Fingaz feat. Raekwon,
Scan 7,
Fat Boys,
Monks,
Louis and Bebe Barron,
Brass Construction,
the Bar-Kays,
Kenny Larkin,
Grauzone,
Swell Maps,
Laurel Aitken,
L. Decosne,
Derrick May,
Soul II Soul,
Bootsy Collins,
New York Dolls,
Soft Cell,
Marine Girls,
Harry Pussy,
Eric Copeland,
Barclay James Harvest,
The Angels of Light,
Sunsets and Hearts,
Stiv Bators,
Charles Mingus,
Red Lorry Yellow Lorry,
Ultramagnetic MC's,
Steve Hackett,
Ituana,
Shuggie Otis, Shuggie Otis, Shuggie Otis, Shuggie Otis.
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.