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 Germany and from Lagos.
But I was there.
I was there in 1973.
I was there at the first Television 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 1966 to 1976.
I'm losing my edge.
To all the kids in Shanghai and Winnipeg.
I'm losing my edge to the art-school Toronto 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 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 The Happenings to the dance 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 Roxette. All the underground hits.
All The Selecter tracks. I heard you have a vinyl of every The Slackers record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kurtis Blow,
Cluster,
The Cosmic Jokers,
Throbbing Gristle,
Joy Division,
Dark Day,
Deadbeat,
Danielle Patucci,
This Heat,
Sunsets and Hearts,
Lee Hazlewood,
The Slackers,
Mandrill,
Roxy Music,
Boogie Down Productions,
Harpers Bizarre,
Zapp,
Flamin' Groovies,
Fat Boys,
The Mojo Men,
Eric B and Rakim,
The Moleskins,
Stereo Dub,
Lucky Dragons,
Amon Düül,
The Tremeloes,
Pere Ubu,
the Soft Cell,
Infiniti,
Ronnie Foster,
Robert Hood,
Amon Düül II,
The Knickerbockers,
Robert Wyatt,
Japan,
Lalann,
Crime,
Aloha Tigers,
Alison Limerick,
The Cowsills,
John Holt,
Organ,
Eric Dolphy,
Newcleus,
Henry Cow,
Underground Resistance,
Kerri Chandler,
Television Personalities,
The American Breed,
Second Layer,
Bobby Womack,
The Offenders,
Derrick May,
Mantronix,
Max Romeo,
D'Angelo,
Metal Thangz,
Sun City Girls,
The Fortunes,
The Associates,
Chris Corsano,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
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.