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 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 1977.
I'm losing my edge.
To all the kids in Tokyo and Taipei.
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 1983 at the first Bronski Beat practice in a loft in Brixton.
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 Nas to the jazz kids.
I played it at the Crocodile.
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 The Evens. All the underground hits.
All Underground Resistance tracks. I heard you have a vinyl of every Lightning Bolt 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 '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Doors record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faraquet,
Spandau Ballet,
Lindisfarne,
Crispy Ambulance,
Soul Sonic Force,
Can,
Quantec,
Patti Smith,
Blake Baxter,
Tim Buckley,
Warsaw,
Sound Behaviour,
The Chocolate Watch Band,
Letta Mbulu,
The Doobie Brothers,
Dorothy Ashby,
K-Klass,
The Gories,
Public Enemy,
Index,
Surgeon,
Nirvana,
Sam Rivers,
The Sound,
The United States of America,
PIL,
Livin' Joy,
Sarah Menescal,
Circle Jerks,
Amazonics,
Wire,
John Lydon,
Lou Reed & Metallica,
Eric Copeland,
The Smiths,
Fat Boys,
Eric B and Rakim,
Gang of Four,
Pierre Henry,
Peter and Kerry,
Maleditus Sound,
Sexual Harrassment,
Tropical Tobacco,
Piero Umiliani,
Rod Modell,
The Invisible,
Blancmange,
Manfred Mann's Earth Band,
Frankie Knuckles,
Public Image Ltd.,
Terrestrial Tones,
The Cure,
Newcleus,
Metal Thangz,
Scratch Acid,
Josef K,
AZ,
Pere Ubu,
Bluetip,
Dawn Penn,
The Modern Lovers,
Drive Like Jehu,
Reuben Wilson, Reuben Wilson, Reuben Wilson, Reuben Wilson.
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.