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 Ivory Coast and from Philadelphia.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Lyon and Houston.
I'm losing my edge to the art-school Tokyo 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 clarinet sounds with much patience.
I was there when Lou Reed 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 Cymande to the disco 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 Be Bop Deluxe. All the underground hits.
All Rites of Spring tracks. I heard you have a vinyl of every Aural Exciters record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deakin,
Barry Ungar,
Gerry Rafferty,
Funkadelic,
Radiopuhelimet,
The Royal Family And The Poor,
Scan 7,
Al Stewart,
Goldenarms,
New Age Steppers,
Theoretical Girls,
Whodini,
Tears for Fears,
Laurel Aitken,
The Shadows of Knight,
Stetsasonic,
The Martian,
Ken Boothe,
The Vogues,
The Last Poets,
The Saints,
Robert Hood,
Alphaville,
Deadbeat,
Skriet,
Max Romeo,
Prince Buster,
Hardrive,
Siouxsie and the Banshees,
The United States of America,
Susan Cadogan,
Lou Reed & Metallica,
Lou Reed,
Marcia Griffiths,
Procol Harum,
The Moody Blues,
Strawberry Alarm Clock,
Bizarre Inc.,
Rosa Yemen,
Althea and Donna,
Basic Channel,
Glenn Branca,
Scion,
Fear,
Grey Daturas,
Barrington Levy,
Oneida,
Public Image Ltd.,
Eric B and Rakim,
The Evens,
Piero Umiliani,
Easy Going,
The Zeros,
OOIOO,
Charles Mingus,
Soul Sonic Force,
Roy Ayers Ubiquity,
Hasil Adkins,
Letta Mbulu,
Eurythmics,
DeepChord presents Echospace,
Faust, Faust, Faust, Faust.
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.