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 Montenegro and from Shanghai.
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 1976.
I'm losing my edge.
To all the kids in Milan and Columbus.
I'm losing my edge to the art-school Delhi 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the rhodes sounds with much patience.
I was there when Lou Reed 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 Alarm Clocks to the grime 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 Slick Rick. All the underground hits.
All Underground Resistance tracks. I heard you have a vinyl of every The Durutti Column 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 '70s cut and another box set from the '80s.
I hear you're buying a sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Cosmic Jokers record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
The Sisters of Mercy,
Lou Reed & Metallica,
Rosa Yemen,
Todd Terry,
Harpers Bizarre,
Rufus Thomas,
Ponytail,
Vainqueur,
Ossler,
Dark Day,
Peter Gordon & Love of Life Orchestra,
Electric Prunes,
Beasts of Bourbon,
Masters at Work,
Wally Richardson,
Rotary Connection,
Red Lorry Yellow Lorry,
Babytalk,
Kerri Chandler,
Lyres,
Bizarre Inc.,
Peter and Kerry,
Gary Puckett & The Union Gap,
Angels of Light & Akron/Family,
Gang Green,
Second Layer,
Crooked Eye,
Andrew Ashong & Theo Parrish,
Bill Wells,
Liliput,
The Human League,
Idris Muhammad,
Kenny Larkin,
Ken Boothe,
Robert Hood,
E-Dancer,
Kango’s Stein Massive,
June Days,
Bang on a Can All-Stars,
Deutsch Amerikanische Freundschaft,
Sun Ra Arkestra,
The Evens,
Radio Birdman,
8 Eyed Spy,
Royal Trux,
Gregory Isaacs,
Massinfluence,
Pantytec,
Yellowson,
Sällskapet,
Bad Manners,
FM Einheit,
Lou Reed & John Cale,
Patti Smith,
Dennis Brown,
Nils Olav,
Grey Daturas,
The Vogues,
Boogie Down Productions,
Ultramagnetic MC's,
Sunsets and Hearts,
The Offenders,
The Raincoats, The Raincoats, The Raincoats, The Raincoats.
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.