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 Gabon and from Columbus.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Lyon and Mumbai.
I'm losing my edge to the art-school Salvador 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the 808 sounds with much patience.
I was there when Captain Beefheart 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 Black Pus to the techno 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 Deutsch Amerikanische Freundschaft. All the underground hits.
All Pere Ubu tracks. I heard you have a vinyl of every Jacques Brel record on German import.
I heard that you have a white label of every seminal electroclash 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 a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a the Normal record.
I hear that you and your band have sold your güiro and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
Lou Christie,
Eli Mardock,
Idris Muhammad,
Camron Feat. Memphis Bleek And Beenie Seigel,
Connie Case,
The Neon Judgement,
Monolake,
Jerry's Kids,
The Electric Prunes,
Television,
Babytalk,
The Vogues,
Darondo,
Gabor Szabo,
Blossom Toes,
Index,
Zapp,
Bang On A Can,
Monks,
Glenn Branca,
Tears for Fears,
The Sisters of Mercy,
Sound Behaviour,
Bobby Womack,
The Black Dice,
Sam Rivers,
China Crisis,
Scan 7,
Mission of Burma,
Harmonia,
Marvin Gaye,
Terrestrial Tones,
Radiohead,
Nick Fraelich,
Gil Scott-Heron and Jamie xx,
Andrew Hill,
Brand Nubian,
Depeche Mode,
The Leaves,
Stereo Dub,
Crispy Ambulance,
Kenny Larkin,
Bluetip,
Brass Construction,
Barbara Tucker,
Barclay James Harvest,
Dead Boys,
Yellowson,
Franke,
The Walker Brothers,
Lalann,
Scion,
Gang Starr,
Barrington Levy,
Jimmy McGriff,
T.S.O.L.,
Sällskapet,
London Community Gospel Choir,
Dorothy Ashby,
Ronnie Foster,
UT,
The Barracudas, The Barracudas, The Barracudas, The Barracudas.
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.