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 Monaco and from Glasgow.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Madrid and Tokyo.
I'm losing my edge to the art-school Manila 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 rhodes 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 Black Bananas to the funk kids.
I played it at the Hacienda.
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 Lou Reed & John Cale. All the underground hits.
All James Chance & The Contortions tracks. I heard you have a vinyl of every The Fugs record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Massinfluence record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New York Dolls,
Bobby Sherman,
The Peanut Butter Conspiracy,
Oblivians,
Arab on Radar,
Public Image Ltd.,
The Young Rascals,
Oppenheimer Analysis,
The Mighty Diamonds,
Y Pants,
Ornette Coleman,
The Vogues,
The Gladiators,
Flamin' Groovies,
The Mojo Men,
Morten Harket,
Neil Young,
Peter & Gordon,
The Leaves,
Nas,
Liaisons Dangereuses,
Sugar Minott,
Scientists,
Liliput,
Whodini,
Minny Pops,
Camouflage,
Junior Murvin,
Gerry Rafferty,
Country Teasers,
Funky Four + One,
Laurel Aitken,
Talk Talk,
Newcleus,
Franke,
Thee Headcoats,
Pole,
The Motions,
the Association,
R.M.O.,
Slick Rick,
Fifty Foot Hose,
Kango’s Stein Massive,
The Electric Prunes,
Jerry's Kids,
Reuben Wilson,
Gichy Dan,
Dorothy Ashby,
Depeche Mode,
The Buckinghams,
Marine Girls,
Radiohead,
Sonny Sharrock,
Bizarre Inc.,
Roy Ayers,
Von Mondo,
Beasts of Bourbon,
the Swans,
The Sonics,
Chrome,
Eric B and Rakim, Eric B and Rakim, Eric B and Rakim, Eric B and Rakim.
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.