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 Nauru and from Jakarta.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Woodstock and Milan.
I'm losing my edge to the art-school Toronto 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 1973 at the first Television practice in a loft in New York.
I was working on the sitar 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 Main Source to the rap 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 The Stooges. All the underground hits.
All Grey Daturas tracks. I heard you have a vinyl of every F. McDonald 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 '60s cut and another box set from the '80s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Red Lorry Yellow Lorry record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Theoretical Girls,
Babytalk,
Brass Construction,
Echo & the Bunnymen,
E-Dancer,
Ornette Coleman,
Camron Feat. Memphis Bleek And Beenie Seigel,
Nico,
Black Sheep,
Joensuu 1685,
Trumans Water,
Qualms,
JFA,
Young Marble Giants,
James Chance & The Contortions,
The Dave Clark Five,
Black Flag,
Lizzy Mercier Descloux,
Orchestral Manoeuvres in the Dark,
Faraquet,
Patti Smith,
Ossler,
Model 500,
The Fortunes,
Boredoms,
Judy Mowatt,
CMW,
Gregory Isaacs,
ABBA,
New Order,
Pet Shop Boys,
Lou Christie,
F. McDonald,
Jerry's Kids,
Von Mondo,
Terrestrial Tones,
The Music Machine,
The Star Department,
Y Pants,
Art Ensemble Of Chicago,
The Raincoats,
Mad Mike,
Harpers Bizarre,
L. Decosne,
Crispy Ambulance,
MDC,
Byron Stingily,
Siouxsie and the Banshees,
Richard Hell and the Voidoids,
Television Personalities,
Ituana,
Gang Starr,
Popol Vuh,
Sad Lovers and Giants,
Frankie Knuckles,
Jandek,
Stockholm Monsters,
Pierre Henry,
Angry Samoans,
Angels of Light & Akron/Family,
Hardrive, Hardrive, Hardrive, Hardrive.
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.