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 Swaziland and from Salvador.
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 1972.
I'm losing my edge.
To all the kids in Tokyo and Madrid.
I'm losing my edge to the art-school Accra 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the arpeggiator sounds with much patience.
I was there when Lou Reed 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 Barrington Levy to the grime kids.
I played it at Trash.
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 Kas Product. All the underground hits.
All Franke tracks. I heard you have a vinyl of every Neil Young & Crazy Horse record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Lebanon Hanover record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T. Rex,
The Misunderstood,
Mission of Burma,
Talk Talk,
Siouxsie and the Banshees,
Johnny Osbourne,
Gerry Rafferty,
John Holt,
The Vogues,
Underground Resistance,
Rowland S Howard / Lydia Lunch,
Lalann,
Joensuu 1685,
Tropical Tobacco,
Masters at Work,
Public Image Ltd.,
Rod Modell,
Lafayette Afro Rock Band,
ABBA,
Angels of Light & Akron/Family,
Morten Harket,
Gabor Szabo,
A Flock of Seagulls,
Rapeman,
Infiniti,
Josef K,
Dual Sessions,
Andrew Ashong & Theo Parrish,
Boredoms,
The Dirtbombs,
The Count Five,
Amon Düül II,
LL Cool J,
Crash Course in Science,
Althea and Donna,
Electric Light Orchestra,
Black Bananas,
Hashim,
Flipper,
Monks,
Robert Hood,
The Cramps,
Arthur Verocai,
Glenn Branca,
Buzzcocks,
Matthew Bourne,
10cc,
Derrick Morgan,
Wire,
X-Ray Spex,
Dave Gahan,
Frankie Knuckles,
Bang On A Can,
Kings Of Tomorrow,
Eden Ahbez,
Swell Maps,
Louis and Bebe Barron,
The Alarm Clocks,
Michelle Simonal,
Marcia Griffiths,
Fatback Band, Fatback Band, Fatback Band, Fatback Band.
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.