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 Togo and from Philadelphia.
But I was there.
I was there in .
I was there at the first Suicide 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 1967 to 1970.
I'm losing my edge.
To all the kids in Mexico City and Seoul.
I'm losing my edge to the art-school Manila 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 güiro sounds with much patience.
I was there when David Bowie 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 Peter Gordon & Love of Life Orchestra to the jazz kids.
I played it at the Astoria.
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 Mr. Review. All the underground hits.
All Sarah Menescal tracks. I heard you have a vinyl of every Nas record on German import.
I heard that you have a white label of every seminal dance 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 synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ludus,
Susan Cadogan,
Lafayette Afro Rock Band,
The Fugs,
The Trojans,
Agent Orange,
The Slackers,
The Angels of Light,
Yazoo,
U.S. Maple,
The Count Five,
Richard Hell and the Voidoids,
James Chance & The Contortions,
Gang Green,
The Chocolate Watch Band,
Roxy Music,
the Normal,
Can,
X-Ray Spex,
The Monks,
Rosa Yemen,
The Standells,
Cheater Slicks,
ABC,
Half Japanese,
Kool Moe Dee,
Delon & Dalcan,
June Days,
the Human League,
Ornette Coleman,
The Searchers,
Gastr Del Sol,
Pagans,
Urselle,
Derrick Morgan,
Vainqueur,
Sister Nancy,
The Wake,
Tubeway Army,
Pulsallama,
De La Soul & Jungle Brothers,
Derrick May,
Kas Product,
Lyres,
The American Breed,
R.M.O.,
The Victims,
Bootsy Collins,
Saccharine Trust,
Ralphi Rosario,
Maurizio,
Harmonia,
The Vogues,
Scan 7,
Ohio Players,
Maleditus Sound,
Barrington Levy,
Cecil Taylor,
The Selecter,
Bush Tetras,
the Association,
Sonny Sharrock, Sonny Sharrock, Sonny Sharrock, Sonny Sharrock.
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.