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 Liberia and from Stockholm.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1979.
I'm losing my edge.
To all the kids in Tehran and Sao Paulo.
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 arpeggiator 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 Ultramagnetic MC's to the disco kids.
I played it at Trash.
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 Robert Hood. All the underground hits.
All Bauhaus tracks. I heard you have a vinyl of every Buzzcocks record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Red Krayola,
Jesper Dahlback,
KRS-One,
the Human League,
Minor Threat,
Brothers Johnson,
Hoover,
Bang on a Can All-Stars,
The Wake,
Tubeway Army,
Pagans,
AZ,
The Pop Group,
Yusef Lateef,
Be Bop Deluxe,
Gang Gang Dance,
Piero Umiliani,
Depeche Mode,
The Star Department,
Marmalade,
Pantytec,
Lindisfarne,
Andrew Hill,
Electric Light Orchestra,
Sight & Sound,
The Gladiators,
T. Rex,
Monks,
The Toasters,
Intrusion,
Soft Cell,
The Divine Comedy,
Mr. Review,
The Angels of Light,
The Flesh Eaters,
Gang Starr,
James Chance & The Contortions,
Röyhkä ja Rättö ja Lehtisalo,
The Chocolate Watch Band,
Guru Guru,
Vaughan Mason & Crew,
Agent Orange,
Sun City Girls,
Motorama,
Sparks,
La Düsseldorf,
Jimmy McGriff,
Soul Sonic Force,
Eric B and Rakim,
Rahsaan Roland Kirk,
David Axelrod,
The Beau Brummels,
the Germs,
Crooked Eye,
Ten City,
The New Christs,
Procol Harum,
Harry Pussy,
Gary Puckett & The Union Gap,
Ash Ra Tempel, Ash Ra Tempel, Ash Ra Tempel, Ash Ra Tempel.
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.