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 Luxembourg and from London.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1974.
I'm losing my edge.
To all the kids in Mumbai and Beijing.
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 clarinet sounds with much patience.
I was there when Captain Beefheart 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 Fugs to the rap 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 Masta Ace, Craig G, Kool G Rap, Big Daddy Kane. All the underground hits.
All Louis and Bebe Barron tracks. I heard you have a vinyl of every Nils Olav record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Enemy,
KRS-One,
Joensuu 1685,
Reagan Youth,
The Real Kids,
Sad Lovers and Giants,
The Leaves,
Crispy Ambulance,
Rufus Thomas,
Blake Baxter,
Darondo,
Jimmy McGriff,
Flipper,
Au Pairs,
Organ,
Ludus,
Fat Boys,
Scion,
OOIOO,
Deadbeat,
Scott Walker,
Eden Ahbez,
Fort Wilson Riot,
Neil Young,
The Golliwogs,
The Dead C,
Fear,
Lyres,
Vainqueur,
Half Japanese,
Gang Gang Dance,
Reuben Wilson,
Crime,
John Holt,
Delta 5,
Maleditus Sound,
Khruangbin,
Supertramp,
D'Angelo,
Bluetip,
Minor Threat,
Underground Resistance,
Grandmaster Flash and the Furious Five,
Hardrive,
The Blackbyrds,
Inner City,
the Slits,
DJ Sneak,
Bill Wells,
Cabaret Voltaire,
The Moody Blues,
Lalo Schifrin,
Television Personalities,
Bauhaus,
Glambeats Corp.,
Erasure,
Alison Limerick,
Rapeman,
Siglo XX,
the Normal,
Von Mondo,
Vladislav Delay,
Oneida, Oneida, Oneida, Oneida.
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.