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 Mozambique and from Lagos.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Edmonton and Cairo.
I'm losing my edge to the art-school Copenhagen 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the synthesizer 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 Agitation Free to the dance kids.
I played it at the Hacienda.
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 John Holt. All the underground hits.
All Sad Lovers and Giants tracks. I heard you have a vinyl of every Camberwell Now record on German import.
I heard that you have a white label of every seminal techno 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 snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Red Krayola record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pulsallama,
The Dirtbombs,
the Germs,
The Cosmic Jokers,
London Community Gospel Choir,
Rakim,
Gil Scott-Heron & Brian Jackson,
Kings Of Tomorrow,
Cal Tjader,
Kurtis Blow,
Pete Rock & C.L. Smooth,
Minny Pops,
Ronan,
Bobby Hutcherson,
Wolf Eyes,
Radiohead,
The Doors,
Dawn Penn,
Desert Stars,
Moss Icon,
Camron Feat. Memphis Bleek And Beenie Seigel,
Goldenarms,
Darondo,
Pet Shop Boys,
Black Sheep,
The Music Machine,
the Association,
Eric B and Rakim,
Barbara Tucker,
Frankie Knuckles,
Terror Squad Feat. Camron,
Girls At Our Best!,
the Soft Cell,
Index,
Wire,
Scratch Acid,
Porter Ricks,
Average White Band,
Essential Logic,
Lebanon Hanover,
David McCallum,
DeepChord presents Echospace,
Janne Schatter,
Gastr Del Sol,
Sunsets and Hearts,
Morten Harket,
Kauko Röyhkä ja Narttu,
Eden Ahbez,
Jacques Brel,
Judy Mowatt,
Ash Ra Tempel,
The Birthday Party,
Massinfluence,
Richard Hell and the Voidoids,
Public Enemy,
Pole,
Sexual Harrassment,
The West Coast Pop Art Experimental Band,
The Gap Band,
Throbbing Gristle,
Joyce Sims,
Gary Puckett & The Union Gap,
Stereo Dub,
Monks, Monks, Monks, Monks.
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.