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 Denmark and from Paris.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Woodstock and Bologna.
I'm losing my edge to the art-school Winnipeg 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 theremin sounds with much patience.
I was there when David Bowie 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 Gregory Isaacs to the rap 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 Jacob Miller. All the underground hits.
All Nas tracks. I heard you have a vinyl of every Rekid record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Dead Boys record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barclay James Harvest,
Soulsonic Force,
Byron Stingily,
Dorothy Ashby,
Pussy Galore,
Lower 48,
Arab on Radar,
Clear Light,
In Retrospect,
Derrick Morgan,
X-101,
Heaven 17,
Public Enemy,
Lungfish,
Livin' Joy,
Television Personalities,
Cabaret Voltaire,
Soul Sonic Force,
Max Romeo,
The Beau Brummels,
The Fortunes,
Mantronix,
The Zeros,
The Electric Prunes,
Half Japanese,
Boredoms,
Eyeless In Gaza,
The Gun Club,
Gabor Szabo,
Rhythm & Sound,
UT,
John Holt,
Colin Newman,
H. Thieme,
Nation of Ulysses,
Procol Harum,
Jawbox,
Crispy Ambulance,
Camron Feat. Memphis Bleek And Beenie Seigel,
Main Source,
Audionom,
The Vogues,
The Music Machine,
Sandy B,
John Coltrane,
the Bar-Kays,
Japan,
Minutemen,
Brand Nubian,
Lou Reed,
Lalann,
Malaria!,
Rosa Yemen,
U.S. Maple,
Depeche Mode,
DNA,
Pylon,
Ornette Coleman,
Amon Düül II,
The Skatalites,
Bobby Sherman,
Von Mondo, Von Mondo, Von Mondo, Von Mondo.
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.