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 Mongolia 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 1969 to 1979.
I'm losing my edge.
To all the kids in Columbus and Beijing.
I'm losing my edge to the art-school London 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the theremin sounds with much patience.
I was there when Michael McDonald 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 Todd Terry to the punk kids.
I played it at the Spitz.
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 Eddi Front. All the underground hits.
All One Last Wish tracks. I heard you have a vinyl of every Young Marble Giants 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 an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Lindisfarne record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin 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?
The Alarm Clocks,
June of 44,
Ornette Coleman,
Quantec,
Red Lorry Yellow Lorry,
Black Pus,
Faust,
Deepchord,
Minny Pops,
Judy Mowatt,
Howard Jones,
Pulsallama,
Freddie Wadling,
Organ,
Nils Olav,
World's Most,
Make Up,
Fugazi,
Hasil Adkins,
Rites of Spring,
Alison Limerick,
China Crisis,
Minnie Riperton,
Roger Hodgson,
Sällskapet,
Rhythm & Sound,
Major Organ And The Adding Machine,
Chris & Cosey,
The Smoke,
Blancmange,
R.M.O.,
Ossler,
Matthew Halsall,
Tommy Roe,
Alphaville,
The Wake,
Teenage Jesus and the Jerks,
Marc Romboy vs. Booka Shade,
The Victims,
Deutsch Amerikanische Freundschaft,
Henry Cow,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Gun Club,
Marmalade,
Joey Negro,
Amazonics,
Kings Of Tomorrow,
Sparks,
Lucky Dragons,
Glambeats Corp.,
Ajijia Myrayebe,
Rahsaan Roland Kirk,
Eric Copeland,
Harpers Bizarre,
The Electric Prunes,
Glenn Branca,
Pantytec,
Gang Green,
The Red Krayola, The Red Krayola, The Red Krayola, The Red Krayola.
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.