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 East Timor and from Taipei.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Halifax and Beijing.
I'm losing my edge to the art-school Mexico City 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 1973 at the first Television practice in a loft in New York.
I was working on the clarinet 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 E-Dancer to the electroclash 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 Dennis Brown. All the underground hits.
All Aural Exciters tracks. I heard you have a vinyl of every Neil Young record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Intrusion record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
Iggy Pop,
Man Eating Sloth,
Guru Guru,
Glambeats Corp.,
Nils Olav,
Mo-Dettes,
Liliput,
Selector Dub Narcotic,
L. Decosne,
Sandy B,
Public Enemy,
Eric B and Rakim,
Massinfluence,
the Bar-Kays,
Marshall Jefferson,
Bill Wells,
Tears for Fears,
Royal Trux,
This Heat,
Tubeway Army,
Drexciya,
48th St. Collective,
Oneida,
Index,
Pagans,
Thinking Fellers Union Local 282,
Echo & the Bunnymen,
Soul Sonic Force,
The Flesh Eaters,
Faraquet,
Ultimate Spinach,
Organ,
The Electric Prunes,
Kenny Larkin,
Siglo XX,
Magazine,
The Pop Group,
Slick Rick,
The Leaves,
Niagra,
Sun Ra Arkestra,
Idris Muhammad,
Von Mondo,
Minutemen,
Big Daddy Kane,
Lonnie Liston Smith,
Stiv Bators,
Monks,
Rahsaan Roland Kirk,
Ash Ra Tempel,
The Names,
Nik Kershaw,
The Music Machine,
Brand Nubian,
Angels of Light & Akron/Family,
Little Man,
Country Joe & The Fish,
Wings,
Gong,
Boogie Down Productions, Boogie Down Productions, Boogie Down Productions, Boogie Down Productions.
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.