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 Bahamas and from Sao Paulo.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Manila.
I'm losing my edge to the art-school Columbus 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the mellotron 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 Wally Richardson to the rap kids.
I played it at the 40 Watt.
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 Lungfish. All the underground hits.
All Roy Ayers tracks. I heard you have a vinyl of every Masta Ace, Craig G, Kool G Rap, Big Daddy Kane 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 '80s cut and another box set from the '90s.
I hear you're buying a 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Bronski Beat record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ponytail,
Danielle Patucci,
Alison Limerick,
Piero Umiliani,
Saccharine Trust,
Pantytec,
Bronski Beat,
Loose Ends,
Sun City Girls,
Eyeless In Gaza,
Harpers Bizarre,
Silicon Teens,
Johnny Osbourne,
Harmonia,
Eden Ahbez,
Goldenarms,
Heaven 17,
Bill Near,
Porter Ricks,
Monks,
Be Bop Deluxe,
Scan 7,
Kings Of Tomorrow,
Popol Vuh,
The Blackbyrds,
Roxette,
A Certain Ratio,
Iggy Pop,
The Count Five,
Joe Smooth,
L. Decosne,
R.M.O.,
Bob Dylan,
Camouflage,
Deepchord,
Masters at Work,
Lafayette Afro Rock Band,
Underground Resistance,
Bluetip,
Wighnomy Brothers & Robag Wruhme,
Juan Atkins,
Cluster,
Marine Girls,
Marc Almond,
Terror Squad Feat. Camron,
Chris Corsano,
Con Funk Shun,
Schoolly D,
Michelle Simonal,
Jesper Dahlbäck,
The Techniques,
Rod Modell,
Crime,
This Heat,
The Seeds,
Joey Negro,
Jerry Gold Smith,
Cabaret Voltaire,
Hoover, Hoover, Hoover, Hoover.
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.