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 Norway and from Mexico City.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Winnipeg and Cairo.
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 chamberlin 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 Lizzy Mercier Descloux to the electroclash kids.
I played it at the Roxy.
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 Mantronix. All the underground hits.
All Rhythm & Sound tracks. I heard you have a vinyl of every The Young Rascals 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 '80s cut and another box set from the '70s.
I hear you're buying a rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
Dual Sessions,
The Count Five,
Lower 48,
June Days,
Sight & Sound,
Duran Duran,
Sun Ra,
Todd Terry,
The Leaves,
Brand Nubian,
Banda Bassotti,
Little Man,
Bobby Byrd,
CMW,
Kings Of Tomorrow,
The Last Poets,
Amon Düül,
Bootsy's Rubber Band,
Faraquet,
The Sonics,
Pagans,
Camouflage,
Tres Demented,
Alice Coltrane,
Sound Behaviour,
Avey Tare & Kría Brekkan,
Ralphi Rosario,
X-Ray Spex,
Hashim,
Barrington Levy,
Ash Ra Tempel,
Section 25,
Television,
Boogie Down Productions,
Wighnomy Brothers & Robag Wruhme,
Oblivians,
Marshall Jefferson,
E-Dancer,
The Star Department,
Bronski Beat,
Loose Ends,
T.S.O.L.,
Qualms,
The Slackers,
Bobby Sherman,
Sister Nancy,
Fifty Foot Hose,
Mo-Dettes,
Grey Daturas,
Eric Copeland,
Deakin,
Brothers Johnson,
The Golliwogs,
Sonny Sharrock,
Kerri Chandler,
Groovy Waters,
The United States of America,
Fat Boys,
the Slits,
The Barracudas,
Glambeats Corp.,
Minor Threat, Minor Threat, Minor Threat, Minor Threat.
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.