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 Namibia and from Bremen.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Spokane and Philadelphia.
I'm losing my edge to the art-school Jakarta 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the chamberlin sounds with much patience.
I was there when David Bowie 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 Richard Hell and the Voidoids to the electroclash kids.
I played it at Trash.
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 The Velvet Underground. All the underground hits.
All Malaria! tracks. I heard you have a vinyl of every Matthew Bourne 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 '90s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your mellotron and bought a 808.
I hear that you and your band have sold your 808 and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pop Group,
The Jesus and Mary Chain,
The Trojans,
John Holt,
Monks,
Graham Central Station,
Make Up,
In Retrospect,
Cecil Taylor,
Theoretical Girls,
Glambeats Corp.,
Rosa Yemen,
Frankie Knuckles,
The Sisters of Mercy,
Wally Richardson,
Juan Atkins,
Sonic Youth,
Inner City,
Roy Ayers,
Cameo,
A Certain Ratio,
Hot Snakes,
Derrick May,
The Blues Magoos,
Magazine,
Swell Maps,
The Cosmic Jokers,
10cc,
Q65,
Deutsch Amerikanische Freundschaft,
The Busters,
Sexual Harrassment,
Lucky Dragons,
Marc Almond,
Gang Green,
Ronnie Foster,
The Names,
Moebius,
Lakeside,
Dual Sessions,
Minny Pops,
Rites of Spring,
Siglo XX,
The Doors,
Red Lorry Yellow Lorry,
Kayak,
the Normal,
Strawberry Alarm Clock,
The Detroit Cobras,
the Human League,
Man Eating Sloth,
Talk Talk,
Avey Tare & Kría Brekkan,
Youth Brigade,
Kauko Röyhkä ja Narttu,
The Blackbyrds,
Al Stewart,
Andrew Ashong & Theo Parrish,
The Residents,
Joe Smooth,
Carl Craig,
Patti Smith, Patti Smith, Patti Smith, Patti Smith.
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.