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 Bangladesh and from Beijing.
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 1960 to 1970.
I'm losing my edge.
To all the kids in New York and Lille.
I'm losing my edge to the art-school Bremen 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the rhodes 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 Tomorrow to the rap kids.
I played it at CBGB's.
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 Dual Sessions. All the underground hits.
All Scion tracks. I heard you have a vinyl of every Brand Nubian 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 '50s cut and another box set from the '90s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kurtis Blow,
The Sound,
In Retrospect,
T. Rex,
Vladislav Delay,
Lakeside,
Skaos,
Sister Nancy,
Warren Ellis,
Jesper Dahlback,
Bizarre Inc.,
Minor Threat,
the Bar-Kays,
Sandy B,
Masters at Work,
Isaac Hayes,
48th St. Collective,
Sonny Sharrock,
Symarip,
Mars,
Frankie Knuckles,
Lower 48,
Electric Light Orchestra,
Magazine,
Hasil Adkins,
Sam Rivers,
Anakelly,
The Royal Family And The Poor,
Cabaret Voltaire,
Joe Finger,
Cheater Slicks,
Roger Hodgson,
Soft Machine,
Barbara Tucker,
Oblivians,
Man Parrish,
Drexciya,
Fela Kuti,
Faust,
Moss Icon,
The Doobie Brothers,
The Star Department,
MC5,
Essential Logic,
The Mojo Men,
Richard Hell and the Voidoids,
Angels of Light & Akron/Family,
The Offenders,
Blossom Toes,
Throbbing Gristle,
Lou Reed & Metallica,
The Toasters,
Notorious BIG live in Amsterdam,
Popol Vuh,
Icehouse,
Tim Buckley,
Todd Terry,
Crooked Eye,
Röyhkä ja Rättö ja Lehtisalo,
Neil Young,
Pussy Galore,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.