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 Lithuania and from Mumbai.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Lagos and London.
I'm losing my edge to the art-school Calgary 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 1976 at the first Chic practice in a loft in New York.
I was working on the güiro sounds with much patience.
I was there when Michael McDonald 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 Dead Boys to the techno 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 FM Einheit. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every Cabaret Voltaire record on German import.
I heard that you have a white label of every seminal rock 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 synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Jeru the Damaja record.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
It's A Beautiful Day,
The Dead C,
Jandek,
La Düsseldorf,
Visage,
Skriet,
Ornette Coleman,
The Buckinghams,
Make Up,
Bill Near,
a-ha,
Byron Stingily,
The Searchers,
Avey Tare,
Cabaret Voltaire,
Howard Jones,
Echo & the Bunnymen,
Crispian St. Peters,
Hot Snakes,
48th St. Collective,
Be Bop Deluxe,
Porter Ricks,
The American Breed,
Stetsasonic,
Echospace,
F. McDonald,
Technova,
the Soft Cell,
The United States of America,
Silicon Teens,
Peter & Gordon,
Massinfluence,
Black Moon,
Franke,
Flipper,
Kurtis Blow,
Chris & Cosey,
The Black Dice,
The Techniques,
Smog,
Groovy Waters,
Lizzy Mercier Descloux,
Eric Dolphy,
Heaven 17,
Siglo XX,
Nils Olav,
KRS-One,
U.S. Maple,
Richard Hell and the Voidoids,
Aaron Thompson,
H. Thieme,
B.T. Express,
Curtis Mayfield,
Altered Images,
Kool G Rap & DJ Polo,
The Blues Magoos,
Deepchord,
Black Pus,
Agitation Free,
Spandau Ballet,
Orchestral Manoeuvres in the Dark,
Sun Ra Arkestra,
David Axelrod,
Boogie Down Productions, Boogie Down Productions, Boogie Down Productions, Boogie Down Productions.
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.