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 Philippines and from Mumbai.
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 1975.
I'm losing my edge.
To all the kids in Tokyo and Edmonton.
I'm losing my edge to the art-school Cairo 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the synthesizer sounds with much patience.
I was there when Robert Palmer 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 Boredoms to the electroclash kids.
I played it at Cafe Wha.
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 June of 44. All the underground hits.
All Alice Coltrane tracks. I heard you have a vinyl of every Circle Jerks record on German import.
I heard that you have a white label of every seminal disco 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 rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Marshall Jefferson record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 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?
Heavy D & The Boyz,
The J.B.'s,
The Young Rascals,
Scan 7,
Lou Reed & John Cale,
The Gladiators,
Bad Manners,
Wire,
Hardrive,
Ronnie Foster,
Goldenarms,
Pylon,
The Tremeloes,
Kevin Saunderson,
Hoover,
Roy Ayers,
Nils Olav,
World's Most,
John Holt,
Chrome,
London Community Gospel Choir,
Josef K,
Accadde A,
Colin Newman,
Tommy Roe,
The Fortunes,
Camouflage,
Inner City,
Hashim,
Sällskapet,
Surgeon,
Suicide,
Terrestrial Tones,
Henry Cow,
Masters at Work,
The Residents,
Bauhaus,
Y Pants,
Neil Young & Crazy Horse,
The Men They Couldn't Hang,
Fugazi,
Stereo Dub,
Prince Buster,
Selector Dub Narcotic,
Ralphi Rosario,
Sugar Minott,
Gabor Szabo,
Siglo XX,
Jacob Miller,
The Pop Group,
Thinking Fellers Union Local 282,
Boogie Down Productions,
This Heat,
James White and The Blacks,
Quando Quango,
Yellowson,
Beasts of Bourbon,
Joensuu 1685,
Negative Approach,
Niagra,
Bobbi Humphrey,
Joyce Sims,
The Grass Roots, The Grass Roots, The Grass Roots, The Grass Roots.
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.