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 New Zealand and from Manchester.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Edmonton.
I'm losing my edge to the art-school Accra 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 chamberlin 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 L. Decosne to the grunge kids.
I played it at the Roxy.
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 Alphaville. All the underground hits.
All The Fuzztones tracks. I heard you have a vinyl of every Louis and Bebe Barron record on German import.
I heard that you have a white label of every seminal dance 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 chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a John Cale record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tom Boy,
LL Cool J,
The Standells,
Whodini,
Fort Wilson Riot,
B.T. Express,
The Gladiators,
Boogie Down Productions,
Dorothy Ashby,
Technova,
R.M.O.,
Dennis Brown,
The J.B.'s,
Excepter,
The Birthday Party,
Brass Construction,
Carl Craig,
Babytalk,
Thinking Fellers Union Local 282,
Gary Puckett & The Union Gap,
The Dirtbombs,
Pharoah Sanders,
London Community Gospel Choir,
Roy Ayers,
Barry Ungar,
Bang on a Can All-Stars,
Bobby Hutcherson,
Eric B and Rakim,
The Black Dice,
The Royal Family And The Poor,
Second Layer,
Symarip,
Tim Buckley,
Infiniti,
Soul Sonic Force,
Notorious Big And Bone Thugs,
Suburban Knight,
The Stooges,
Ohio Players,
Tubeway Army,
Sam Rivers,
The Fortunes,
John Cale,
Lalo Schifrin,
Strawberry Alarm Clock,
Barrington Levy,
Faraquet,
Radiohead,
Supertramp,
Jawbox,
Skarface,
Bob Dylan,
Sight & Sound,
a-ha,
Todd Rundgren,
Quando Quango,
Rufus Thomas,
UT,
Kauko Röyhkä ja Narttu,
The Gories,
Crispian St. Peters, Crispian St. Peters, Crispian St. Peters, Crispian St. Peters.
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.