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 Cuba and from London.
But I was there.
I was there in 1973.
I was there at the first Television 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 1964 to 1970.
I'm losing my edge.
To all the kids in Lille and London.
I'm losing my edge to the art-school Manchester 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 guitar 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 Kerrie Biddell 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 In Retrospect. All the underground hits.
All Depeche Mode tracks. I heard you have a vinyl of every Ornette Coleman record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The American Breed,
Rowland S Howard / Lydia Lunch,
Surgeon,
Chrome,
Mars,
Joe Smooth,
The Count Five,
Eve St. Jones,
Ultravox,
The Busters,
Jerry Gold Smith,
Black Moon,
Funky Four + One,
Thompson Twins,
Nils Olav,
James White and The Blacks,
Brick,
Pantytec,
Selector Dub Narcotic,
Barrington Levy,
Ornette Coleman,
The Techniques,
Amon Düül II,
The Pretty Things,
Fugazi,
Con Funk Shun,
Brass Construction,
It's A Beautiful Day,
Marvin Gaye,
The Angels of Light,
The Black Dice,
Sixth Finger,
Smog,
John Cale,
H. Thieme,
Eden Ahbez,
Cluster,
Lightning Bolt,
Pole,
Bang On A Can,
Vainqueur,
Mantronix,
The Monochrome Set,
Cal Tjader,
Radiohead,
Josef K,
Mo-Dettes,
the Fania All-Stars,
The Last Poets,
Livin' Joy,
Iggy Pop,
Bush Tetras,
Soulsonic Force,
Chris Corsano,
Thee Headcoats,
Sugar Minott,
Japan,
Marine Girls,
Heaven 17,
Sällskapet,
D'Angelo,
B.T. Express, B.T. Express, B.T. Express, B.T. Express.
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.