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 Brunei and from Lille.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Taipei and Bologna.
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 harpsichord 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 Eli Mardock 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 Boredoms. All the underground hits.
All Kurtis Blow tracks. I heard you have a vinyl of every Art Ensemble Of Chicago 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 '60s cut and another box set from the '90s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Byron Stingily record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kerrie Biddell,
Dawn Penn,
Super Lover Cee & Casanova Rud,
David Axelrod,
Jeff Mills,
Sixth Finger,
Gabor Szabo,
Icehouse,
Pagans,
JFA,
Bobby Hutcherson,
Jacques Brel,
Gichy Dan,
Bill Wells,
Brothers Johnson,
Notorious Big And Bone Thugs,
R.M.O.,
Susan Cadogan,
PIL,
Los Fastidios,
Tomorrow,
Pharaoh Sanders and the Fire Engines,
Franke,
Index,
Erykah Badu,
Chrome,
Liliput,
The Evens,
Sun Ra,
Rakim,
Joe Smooth,
the Normal,
Rhythim Is Rhythim,
Aswad,
K-Klass,
Kool G Rap & DJ Polo,
Cymande,
June Days,
Black Moon,
Hot Snakes,
Piero Umiliani,
Gerry Rafferty,
Iggy Pop,
Buzzcocks,
Tim Buckley,
Mark Hollis,
Gong,
Monks,
Gang Gang Dance,
Joe Finger,
Ken Boothe,
The Moody Blues,
Sonny Sharrock,
Rhythm & Sound,
Morten Harket,
Scion,
Major Organ And The Adding Machine,
Technova,
Sly & The Family Stone,
Art Ensemble Of Chicago,
Pole,
Lakeside,
Zapp, Zapp, Zapp, Zapp.
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.