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 United States and from Sao Paulo.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Philadelphia and Delhi.
I'm losing my edge to the art-school Milan 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 1976 at the first Chic practice in a loft in New York.
I was working on the synthesizer 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 The Gun Club to the disco 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 Reuben Wilson. All the underground hits.
All Ronnie Foster tracks. I heard you have a vinyl of every Dawn Penn 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 '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Malaria!,
Donny Hathaway,
Moebius,
Das Ding,
Tommy Roe,
The Red Krayola,
Sixth Finger,
June Days,
Girls At Our Best!,
Laurel Aitken,
Scrapy,
Hashim,
Kerri Chandler,
Tom Boy,
Piero Umiliani,
Eric B and Rakim,
Deakin,
Panda Bear,
The Busters,
The Knickerbockers,
Dual Sessions,
Barclay James Harvest,
The Slits,
Kerrie Biddell,
The American Breed,
Index,
The Cure,
Bang On A Can,
Vainqueur,
Aloha Tigers,
Scratch Acid,
Rufus Thomas,
Barry Ungar,
Zero Boys,
Amon Düül II,
Sun Ra Arkestra,
Jacques Brel,
the Swans,
Pharoah Sanders,
The Cosmic Jokers,
Silicon Teens,
Althea and Donna,
DNA,
Richard Hell and the Voidoids,
Stockholm Monsters,
Oppenheimer Analysis,
Minnie Riperton,
Soft Cell,
Janne Schatter,
The Happenings,
Dr. Dre and Snoop Doggy Dog,
Basic Channel,
Bizarre Inc.,
Bad Manners,
MDC,
The Saints,
Model 500,
Louis and Bebe Barron,
Kas Product,
Theoretical Girls,
Nik Kershaw,
Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale.
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.