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 Panama and from Bremen.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Mumbai and Manila.
I'm losing my edge to the art-school Portland 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 Feelies practice in a loft in Haledon.
I was working on the 808 sounds with much patience.
I was there when Robert Palmer 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 Remains to the dance 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 the Sonics. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every Heavy D & The Boyz 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 '70s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Bill Wells record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roxette,
The Pretty Things,
Kool G Rap & DJ Polo,
Qualms,
Heaven 17,
Technova,
Barry Ungar,
Radiopuhelimet,
Accadde A,
The Star Department,
Nick Fraelich,
Fear,
The Searchers,
New Order,
Wolf Eyes,
The Evens,
Pantaleimon,
In Retrospect,
Larry & the Blue Notes,
The Golliwogs,
Sixth Finger,
X-102,
Isaac Hayes,
MDC,
Joey Negro,
Q65,
Peter and Kerry,
Absolute Body Control,
The Cowsills,
The Techniques,
Sad Lovers and Giants,
Maurizio,
Stiv Bators,
Boogie Down Productions,
cv313,
The Mojo Men,
Henry Cow,
The Fall,
The Jesus and Mary Chain,
Graham Central Station,
Jesper Dahlback,
James Chance & The Contortions,
Pet Shop Boys,
Black Moon,
Average White Band,
Lindisfarne,
Simply Red,
Newcleus,
The Cramps,
Mary Jane Girls,
Brand Nubian,
Gerry Rafferty,
The Moody Blues,
Black Bananas,
the Fania All-Stars,
Colin Newman,
Subhumans,
CMW,
Lonnie Liston Smith,
Underground Resistance,
Los Fastidios,
Nirvana,
Pole,
Electric Prunes, Electric Prunes, Electric Prunes, Electric Prunes.
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.