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 Singapore 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 1962 to 1975.
I'm losing my edge.
To all the kids in Paris and Cairo.
I'm losing my edge to the art-school Johannesburg 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 1973 at the first Television practice in a loft in New York.
I was working on the güiro 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 The Barracudas to the punk 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 Judy Mowatt. All the underground hits.
All Cabaret Voltaire tracks. I heard you have a vinyl of every Quando Quango record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Alton Ellis record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
Marcia Griffiths,
The Victims,
Half Japanese,
The Gun Club,
Subhumans,
Strawberry Alarm Clock,
Lightning Bolt,
Aaron Thompson,
Maurizio,
The Gories,
Camouflage,
Angels of Light & Akron/Family,
the Human League,
The Alarm Clocks,
Ronan,
Gil Scott-Heron & Brian Jackson,
Smog,
In Retrospect,
Bizarre Inc.,
Joe Smooth,
Art Ensemble Of Chicago,
Shoche,
Tommy Roe,
The Techniques,
Ultimate Spinach,
Rhythm & Sound,
Gil Scott-Heron and Jamie xx,
Warsaw,
Kings Of Tomorrow,
DeepChord presents Echospace,
Quando Quango,
Ultra Naté,
Gregory Isaacs,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Goldenarms,
Public Image Ltd.,
Motorama,
The Fall,
Peter Gordon & Love of Life Orchestra,
John Foxx,
Mo-Dettes,
Kaleidoscope,
The Count Five,
Average White Band,
Bill Near,
Nils Olav,
Danielle Patucci,
The Shadows of Knight,
Vladislav Delay,
The Velvet Underground,
Jacques Brel,
Arcadia,
MC5,
Rahsaan Roland Kirk,
The Grass Roots,
The Jesus and Mary Chain,
Procol Harum,
Urselle,
Easy Going,
Delon & Dalcan,
Quantec, Quantec, Quantec, Quantec.
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.