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 Dominican Republic and from Stockholm.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Columbus and Jakarta.
I'm losing my edge to the art-school Tehran 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 güiro 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 Judy Mowatt to the rock 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 The Gladiators. All the underground hits.
All Bang On A Can tracks. I heard you have a vinyl of every China Crisis record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mary Jane Girls,
The Victims,
The Leaves,
The Last Poets,
Henry Cow,
Whodini,
CMW,
Lower 48,
Ornette Coleman,
F. McDonald,
Dorothy Ashby,
Public Image Ltd.,
Faust,
The Slackers,
The Doobie Brothers,
Drive Like Jehu,
The Birthday Party,
Quantec,
Gabor Szabo,
Model 500,
John Coltrane,
Terrestrial Tones,
Slick Rick,
the Germs,
Juan Atkins,
Skarface,
Monolake,
Thompson Twins,
Duran Duran,
The Sound,
Notorious Big And Bone Thugs,
The Mighty Diamonds,
Grandmaster Flash,
Gil Scott Heron,
Fifty Foot Hose,
Kas Product,
Brass Construction,
Ludus,
Skriet,
Flamin' Groovies,
Essential Logic,
Sight & Sound,
Laurel Aitken,
Technova,
Sällskapet,
Mr. Review,
Lou Reed,
Ronan,
Pagans,
The Mojo Men,
Steve Hackett,
Eurythmics,
Goldenarms,
The Blues Magoos,
Ash Ra Tempel,
Johnny Osbourne,
The Saints,
Kauko Röyhkä ja Narttu,
Harpers Bizarre,
Man Parrish, Man Parrish, Man Parrish, Man Parrish.
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.