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 Armenia and from Shanghai.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1975.
I'm losing my edge.
To all the kids in Stockholm and Milan.
I'm losing my edge to the art-school Glasgow 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 808 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 The Tremeloes to the rap 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 Gerry Rafferty. All the underground hits.
All The Monochrome Set tracks. I heard you have a vinyl of every The Names record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Nas record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Severed Heads,
Rakim,
Radio Birdman,
The Knickerbockers,
Camberwell Now,
Funkadelic,
A Flock of Seagulls,
Reuben Wilson,
Dark Day,
Throbbing Gristle,
Pussy Galore,
Lower 48,
Excepter,
Royal Trux,
Angels of Light & Akron/Family,
The Music Machine,
The Busters,
Yusef Lateef,
the Fania All-Stars,
The Velvet Underground,
Funky Four + One,
The Dirtbombs,
Crash Course in Science,
The Neon Judgement,
The Moleskins,
Neil Young,
Ponytail,
Electric Prunes,
MDC,
Young Marble Giants,
Yazoo,
Gang Green,
Half Japanese,
Harpers Bizarre,
James White and The Blacks,
the Normal,
Delon & Dalcan,
The Alarm Clocks,
Jeff Mills,
Jeru the Damaja,
The Associates,
David McCallum,
Avey Tare,
Cluster,
JFA,
Agent Orange,
48th St. Collective,
Bronski Beat,
Liaisons Dangereuses,
Art Ensemble Of Chicago,
Toni Rubio,
Kevin Saunderson,
Donald Byrd,
Alison Limerick,
Echospace,
London Community Gospel Choir,
The Dead C,
Boredoms,
This Heat,
Drexciya,
Johnny Osbourne, Johnny Osbourne, Johnny Osbourne, Johnny Osbourne.
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.