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 Stockholm.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Beijing and Shanghai.
I'm losing my edge to the art-school Columbus 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 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 Germs to the jazz kids.
I played it at the Troubador.
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 Heaven 17. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Flipper 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 '50s cut and another box set from the '80s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Sam Rivers record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Whodini,
The Invisible,
Arab on Radar,
Joensuu 1685,
Charles Mingus,
Wally Richardson,
June of 44,
Marc Romboy vs. Booka Shade,
ABBA,
Oneida,
The Remains,
Don Cherry,
Simply Red,
Skriet,
David Bowie,
The Stooges,
Selector Dub Narcotic,
Cybotron,
Magma,
The Angels of Light,
The American Breed,
Sound Behaviour,
Dead Boys,
Parry Music,
Gary Puckett & The Union Gap,
Archie Shepp,
The West Coast Pop Art Experimental Band,
Television,
Lafayette Afro Rock Band,
Cymande,
Alphaville,
the Germs,
Sly & The Family Stone,
Nik Kershaw,
Flipper,
Beasts of Bourbon,
Cluster,
This Heat,
Dave Gahan,
Fugazi,
Fifty Foot Hose,
Sunsets and Hearts,
Negative Approach,
Wighnomy Brothers & Robag Wruhme,
Bobby Sherman,
James White and The Blacks,
Barclay James Harvest,
Marine Girls,
Saccharine Trust,
Arcadia,
Nico,
Unrelated Segments,
Terrestrial Tones,
Dr. Dre and Snoop Doggy Dog,
EPMD,
Eric B and Rakim,
Desert Stars,
Rites of Spring,
Andrew Ashong & Theo Parrish,
Underground Resistance,
Gong,
Tim Buckley,
Hot Snakes, Hot Snakes, Hot Snakes, Hot Snakes.
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.