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 El Salvador and from London.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Copenhagen and Toronto.
I'm losing my edge to the art-school Tokyo 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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 John Foxx to the dance kids.
I played it at the Crocodile.
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 Ultimate Spinach. All the underground hits.
All Harry Pussy tracks. I heard you have a vinyl of every Blancmange 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 chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Eric Dolphy record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eddi Front,
Intrusion,
Rites of Spring,
Blossom Toes,
Alison Limerick,
Dorothy Ashby,
Bluetip,
The Mighty Diamonds,
Harmonia,
Sällskapet,
Don Cherry,
Donny Hathaway,
Easy Going,
Gil Scott-Heron and Jamie xx,
Nation of Ulysses,
Scratch Acid,
Orchestral Manoeuvres in the Dark,
Lower 48,
Cybotron,
The Selecter,
The Moleskins,
Procol Harum,
Major Organ And The Adding Machine,
June of 44,
Slave,
Brand Nubian,
Gil Scott-Heron & Brian Jackson,
Patti Smith,
Scrapy,
The Saints,
The Martian,
Q and Not U,
Tommy Roe,
Fluxion,
Moebius,
Piero Umiliani,
Alphaville,
The Gap Band,
Jerry Gold Smith,
Negative Approach,
Flipper,
Hardrive,
Rekid,
Young Marble Giants,
Wolf Eyes,
Jerry's Kids,
Crispy Ambulance,
The Sisters of Mercy,
Groovy Waters,
Stereo Dub,
Freddie Wadling,
UT,
Glambeats Corp.,
Tears for Fears,
Al Stewart,
Roy Ayers,
The Associates,
The Stooges,
Minutemen,
B.T. Express,
Nas,
Motorama, Motorama, Motorama, Motorama.
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.