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 Oman and from Salvador.
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 1976.
I'm losing my edge.
To all the kids in Manchester and Tokyo.
I'm losing my edge to the art-school Manila 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 synthesizer 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 The Cramps to the jazz kids.
I played it at the 40 Watt.
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 Faust. All the underground hits.
All Procol Harum tracks. I heard you have a vinyl of every Robert Hood 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 '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a cv313 record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T.S.O.L.,
Barbara Tucker,
Scott Walker,
Joe Smooth,
Porter Ricks,
OOIOO,
Ronan,
Selector Dub Narcotic,
Skriet,
Ituana,
Clear Light,
Glenn Branca,
Tomorrow,
New Order,
The Monochrome Set,
Joensuu 1685,
Minutemen,
Vainqueur,
Drexciya,
Los Fastidios,
D'Angelo,
the Fania All-Stars,
Danielle Patucci,
Au Pairs,
Brass Construction,
The New Christs,
Lonnie Liston Smith,
Outsiders,
Thinking Fellers Union Local 282,
Model 500,
Connie Case,
Inner City,
The West Coast Pop Art Experimental Band,
Slave,
Nico,
Traffic Nightmare,
Whodini,
Hasil Adkins,
Lee Hazlewood,
Grandmaster Flash and the Furious Five,
The Residents,
Be Bop Deluxe,
A Certain Ratio,
Second Layer,
Circle Jerks,
World's Most,
Andrew Hill,
The Mighty Diamonds,
ABBA,
The Angels of Light,
Crooked Eye,
Fluxion,
Marcia Griffiths,
Lalo Schifrin,
Matthew Halsall,
Y Pants,
The Five Americans,
John Lydon,
The Fortunes,
The Slits,
Röyhkä ja Rättö ja Lehtisalo,
Zapp,
Urselle, Urselle, Urselle, Urselle.
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.