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 Togo and from Milan.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1978.
I'm losing my edge.
To all the kids in New York and Houston.
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 spring reverb 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 The Index to the dance 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 Fatback Band. All the underground hits.
All Liaisons Dangereuses tracks. I heard you have a vinyl of every Second Layer 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 '70s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Residents record.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aloha Tigers,
Aswad,
The Doors,
Eli Mardock,
Alton Ellis,
Lightning Bolt,
Howard Jones,
Sad Lovers and Giants,
Tears for Fears,
Rahsaan Roland Kirk,
Yellowson,
Cabaret Voltaire,
Skriet,
Drexciya,
Massinfluence,
Heaven 17,
Gregory Isaacs,
Marmalade,
Electric Light Orchestra,
Barrington Levy,
Lindisfarne,
Cameo,
Desert Stars,
Andrew Hill,
Skaos,
Eddi Front,
Youth Brigade,
Lebanon Hanover,
David Axelrod,
Pete Rock & C.L. Smooth,
Flipper,
The Fall,
Jeru the Damaja,
Outsiders,
Silicon Teens,
Arthur Verocai,
Bizarre Inc.,
The Five Americans,
Oppenheimer Analysis,
Moss Icon,
The Blackbyrds,
Rosa Yemen,
Fluxion,
The Jesus and Mary Chain,
Grey Daturas,
Gang Green,
Stockholm Monsters,
Livin' Joy,
The United States of America,
Sly & The Family Stone,
Oblivians,
The Black Dice,
Jeff Mills,
Judy Mowatt,
LL Cool J,
Duran Duran,
Henry Cow,
Masters at Work,
Excepter,
Jerry's Kids,
Los Fastidios,
Red Lorry Yellow Lorry,
David Bowie, David Bowie, David Bowie, David Bowie.
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.