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 Burundi and from New York.
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 1973.
I'm losing my edge.
To all the kids in Woodstock and Milan.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the spring reverb 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 Invisible to the grunge 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 Glenn Branca. All the underground hits.
All A Certain Ratio tracks. I heard you have a vinyl of every Grey Daturas record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Joe Smooth 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?
Cymande,
The Dave Clark Five,
The Doors,
Idris Muhammad,
Eli Mardock,
Silicon Teens,
The Selecter,
Pylon,
Roy Ayers Ubiquity,
The Move,
Larry & the Blue Notes,
The Gap Band,
Blake Baxter,
Ronan,
Hoover,
Ornette Coleman,
Camouflage,
The Tremeloes,
Glambeats Corp.,
The Jesus and Mary Chain,
Anthony Braxton,
The Litter,
Tommy Roe,
The Smoke,
Pantytec,
James Chance & The Contortions,
Mars,
Colin Newman,
June Days,
Sister Nancy,
Deepchord,
Swell Maps,
48th St. Collective,
The Vogues,
Johnny Clarke,
The Trojans,
Rahsaan Roland Kirk,
Audionom,
Notorious BIG live in Amsterdam,
Brand Nubian,
Model 500,
Theoretical Girls,
The Associates,
The Alarm Clocks,
Loose Ends,
Easy Going,
Morten Harket,
ABC,
Unwound,
Scan 7,
AZ,
The Sisters of Mercy,
Swans,
Kool Moe Dee,
a-ha,
Bang On A Can,
The Detroit Cobras,
Little Man,
Wally Richardson,
Lindisfarne,
Kas Product,
Ultravox, Ultravox, Ultravox, Ultravox.
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.