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 Ethiopia and from Paris.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1962 to 1977.
I'm losing my edge.
To all the kids in London and Paris.
I'm losing my edge to the art-school Copenhagen 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 güiro 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 JFA to the dance kids.
I played it at the Troubador.
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 Joe Finger. All the underground hits.
All Television Personalities tracks. I heard you have a vinyl of every Gil Scott-Heron & Brian Jackson record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Pussy Galore record.
I hear that you and your band have sold your guitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Star Department,
Moebius,
Richard Hell and the Voidoids,
The Blues Magoos,
Sixth Finger,
Peter and Kerry,
Ajijia Myrayebe,
Louis and Bebe Barron,
Man Parrish,
Hoover,
The Barracudas,
Section 25,
the Bar-Kays,
The Doobie Brothers,
The J.B.'s,
Sad Lovers and Giants,
The Happenings,
Andrew Ashong & Theo Parrish,
Junior Murvin,
Magazine,
The Pop Group,
Brick,
Accadde A,
The Dave Clark Five,
Sun Ra,
The United States of America,
Henry Cow,
48th St. Collective,
B.T. Express,
Jesper Dahlback,
Index,
The Golliwogs,
The Chocolate Watch Band,
FM Einheit,
Youth Brigade,
Gil Scott Heron,
Dual Sessions,
The Neon Judgement,
Roxy Music,
Gary Puckett & The Union Gap,
Cybotron,
Subhumans,
Red Lorry Yellow Lorry,
Ralphi Rosario,
Ornette Coleman,
The Slits,
Johnny Clarke,
the Human League,
Deadbeat,
Kas Product,
Tom Boy,
Yusef Lateef,
Jeff Mills,
Fluxion,
F. McDonald,
The Associates,
The Sonics,
Stereo Dub,
Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx.
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.