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 Sri Lanka and from London.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1974.
I'm losing my edge.
To all the kids in Spokane and Portland.
I'm losing my edge to the art-school London 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 chamberlin 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 Lindisfarne to the techno kids.
I played it at the Hacienda.
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 It's A Beautiful Day. All the underground hits.
All Arab on Radar tracks. I heard you have a vinyl of every Newcleus record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your oboe and bought a güiro.
I hear that you and your band have sold your güiro and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DNA,
Oppenheimer Analysis,
Soft Machine,
Slick Rick,
Gang Starr,
Crispy Ambulance,
Yellowson,
Mad Mike,
Desert Stars,
Make Up,
Inner City,
Monolake,
Erasure,
Avey Tare,
Terry Callier,
Circle Jerks,
Lucky Dragons,
The Mummies,
Schoolly D,
Jeru the Damaja,
Richard Hell and the Voidoids,
Massinfluence,
Radiohead,
Ponytail,
June Days,
Davy DMX,
Alphaville,
Donny Hathaway,
Pylon,
Deakin,
Nick Fraelich,
Black Pus,
Jeff Lynne,
Josef K,
Can,
Danielle Patucci,
Flipper,
Camron Feat. Memphis Bleek And Beenie Seigel,
Subhumans,
Banda Bassotti,
Japan,
Sister Nancy,
Cabaret Voltaire,
Masters at Work,
Wally Richardson,
Bobby Womack,
LL Cool J,
Joe Smooth,
Gary Puckett & The Union Gap,
The Doors,
The Last Poets,
Agent Orange,
Red Lorry Yellow Lorry,
Grandmaster Flash and the Furious Five,
Suburban Knight,
Bang On A Can,
Swell Maps,
Eyeless In Gaza,
The Chocolate Watch Band,
Grandmaster Flash,
Gabor Szabo,
The Standells, The Standells, The Standells, The Standells.
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.