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 East Timor and from Jakarta.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Toronto and Copenhagen.
I'm losing my edge to the art-school Portland 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 arpeggiator 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 Matthew Halsall to the dance kids.
I played it at CBGB's.
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 Slick Rick. All the underground hits.
All Don Cherry tracks. I heard you have a vinyl of every Jawbox record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lebanon Hanover,
Matthew Bourne,
Lou Reed & Metallica,
X-102,
Angry Samoans,
Mary Jane Girls,
Rod Modell,
Magazine,
The Shadows of Knight,
Saccharine Trust,
The Peanut Butter Conspiracy,
Infiniti,
Skriet,
Amon Düül,
Angels of Light & Akron/Family,
The Associates,
Carl Craig,
Juan Atkins,
Henry Cow,
Lizzy Mercier Descloux,
Terror Squad Feat. Camron,
Anakelly,
Procol Harum,
Kurtis Blow,
Black Sheep,
The Modern Lovers,
Television,
The Sisters of Mercy,
Joyce Sims,
Joy Division,
Deutsch Amerikanische Freundschaft,
The Names,
Joensuu 1685,
Delon & Dalcan,
Sam Rivers,
Sällskapet,
The Cosmic Jokers,
Heavy D & The Boyz,
Kerrie Biddell,
Erykah Badu,
Stetsasonic,
Gastr Del Sol,
the Soft Cell,
The Remains,
Minor Threat,
Crispy Ambulance,
Lou Reed & John Cale,
Little Man,
Sister Nancy,
Gang Gang Dance,
Jeff Lynne,
Albert Ayler,
Adolescents,
Boredoms,
Grauzone,
Ultra Naté,
Gang Green,
The Vogues,
Bob Dylan,
Byron Stingily,
Niagra,
Swans,
Massinfluence,
Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew.
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.