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 Nauru and from Cairo.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Mexico City and Madrid.
I'm losing my edge to the art-school Seoul 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 1973 at the first Television practice in a loft in New York.
I was working on the organ 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 Grandmaster Flash to the grunge kids.
I played it at the Astoria.
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 Thompson Twins. All the underground hits.
All Wings tracks. I heard you have a vinyl of every The Remains 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 '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Hoover record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharaoh Sanders and the Fire Engines,
the Soft Cell,
the Normal,
Liaisons Dangereuses,
Masters at Work,
Thee Headcoats,
Red Lorry Yellow Lorry,
U.S. Maple,
Dead Boys,
Pharoah Sanders,
The Peanut Butter Conspiracy,
Eyeless In Gaza,
Nico,
The Toasters,
The Selecter,
Slick Rick,
Minutemen,
Rotary Connection,
Juan Atkins,
Q65,
Nik Kershaw,
Glambeats Corp.,
Larry & the Blue Notes,
Circle Jerks,
Bobbi Humphrey,
The Chocolate Watch Band,
Deakin,
Maurizio,
Eric Dolphy,
Jerry's Kids,
Electric Prunes,
Arthur Verocai,
Sugar Minott,
New Order,
Orchestral Manoeuvres in the Dark,
Gang Green,
The Fire Engines,
Siglo XX,
The Music Machine,
Gabor Szabo,
Brand Nubian,
Crooked Eye,
Sandy B,
Big Daddy Kane,
Liliput,
Matthew Bourne,
The Doobie Brothers,
Jeff Mills,
James White and The Blacks,
the Bar-Kays,
The Busters,
The American Breed,
Aaron Thompson,
The Fuzztones,
Laurel Aitken,
Babytalk,
Television Personalities,
Siouxsie and the Banshees,
The Kinks,
Erykah Badu,
Bang On A Can,
Pylon, Pylon, Pylon, Pylon.
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.