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 Canada and from Glasgow.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Spokane and Halifax.
I'm losing my edge to the art-school Hong Kong 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 1978 at the first Visage practice in a loft in London.
I was working on the linndrum 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 Brick to the disco kids.
I played it at the 40 Watt.
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 Whodini. All the underground hits.
All Yazoo tracks. I heard you have a vinyl of every DJ Sneak record on German import.
I heard that you have a white label of every seminal dance 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 clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a X-101 record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swans,
a-ha,
Aaron Thompson,
Surgeon,
Roxette,
Cecil Taylor,
Skaos,
Wally Richardson,
Sex Pistols,
Charles Mingus,
Das Ding,
Delon & Dalcan,
Yaz,
James Chance & The Contortions,
John Coltrane,
Danielle Patucci,
Bobby Byrd,
Blossom Toes,
Avey Tare's Slasher Flicks,
The Vogues,
Scott Walker + Sunn O))),
X-101,
The New Christs,
Pulsallama,
kango's stein massive,
Grandmaster Flash,
Peter Gordon & Love of Life Orchestra,
Delta 5,
Rowland S Howard / Lydia Lunch,
The Kinks,
Gichy Dan,
F. McDonald,
Royal Trux,
the Association,
Newcleus,
Rotary Connection,
Marine Girls,
Minny Pops,
CMW,
Gil Scott-Heron & Brian Jackson,
the Normal,
Man Eating Sloth,
Camouflage,
The Blackbyrds,
Pierre Henry,
Leonard Cohen,
Livin' Joy,
Fluxion,
Gang Starr,
Country Teasers,
Gang Green,
Peter and Kerry,
Sun Ra,
Kaleidoscope,
Graham Central Station,
D'Angelo,
Reuben Wilson,
Flipper,
Dorothy Ashby,
Tom Boy, Tom Boy, Tom Boy, Tom Boy.
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.