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 Equatorial Guinea and from Delhi.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Calgary and Manchester.
I'm losing my edge to the art-school Edmonton 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 guitar 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 Technova to the electroclash 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 Quantec. All the underground hits.
All Throbbing Gristle tracks. I heard you have a vinyl of every Selector Dub Narcotic record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Gang Starr record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sad Lovers and Giants,
Popol Vuh,
The Associates,
Saccharine Trust,
Harry Pussy,
Stiv Bators,
London Community Gospel Choir,
Fat Boys,
Ponytail,
John Foxx,
Peter & Gordon,
Inner City,
Fela Kuti,
the Normal,
Severed Heads,
Ash Ra Tempel,
Marmalade,
Judy Mowatt,
MC5,
Rotary Connection,
The Golliwogs,
Shuggie Otis,
Slick Rick,
Camron Feat. Memphis Bleek And Beenie Seigel,
Black Moon,
Joensuu 1685,
The Cowsills,
Amon Düül II,
Wasted Youth,
FM Einheit,
Matthew Bourne,
The Seeds,
The Vogues,
Pet Shop Boys,
the Germs,
Sandy B,
Ornette Coleman,
The Invisible,
Visionaries,LMNO, T- Love & Iriscience,
Joyce Sims,
The Gladiators,
Johnny Osbourne,
Eurythmics,
Sight & Sound,
Jawbox,
The Chocolate Watch Band,
Jerry Gold Smith,
The Real Kids,
Underground Resistance,
Louis and Bebe Barron,
The Five Americans,
Zapp,
Essential Logic,
Neu!,
Masters at Work,
Agitation Free,
Sonic Youth,
The Red Krayola,
Gang Starr,
Max Romeo,
Nico,
X-101,
Bobby Sherman, Bobby Sherman, Bobby Sherman, Bobby Sherman.
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.