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 Uganda and from Accra.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Stockholm and London.
I'm losing my edge to the art-school Houston 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 harpsichord 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 Slackers to the disco 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 X-101. All the underground hits.
All Mark Hollis tracks. I heard you have a vinyl of every Moebius record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a guitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Pylon record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Bar-Kays,
The Names,
The Selecter,
Nils Olav,
Freddie Wadling,
The Fire Engines,
Jimmy McGriff,
Aswad,
Little Man,
The Cosmic Jokers,
Ohio Players,
Can,
Jerry Gold Smith,
Big Daddy Kane,
Jeru the Damaja,
the Fania All-Stars,
Echo & the Bunnymen,
Teenage Jesus and the Jerks,
Sam Rivers,
Pete Rock & C.L. Smooth,
Young Marble Giants,
Kurtis Blow,
Niagra,
Maleditus Sound,
Intrusion,
Japan,
The Human League,
Mars,
Rhythm & Sound,
Aaron Thompson,
The Alarm Clocks,
Quando Quango,
Selector Dub Narcotic,
Marshall Jefferson,
It's A Beautiful Day,
Bob Dylan,
Orchestral Manoeuvres in the Dark,
The Divine Comedy,
Colin Newman,
Bronski Beat,
Pussy Galore,
Swell Maps,
Youth Brigade,
Fela Kuti,
Flamin' Groovies,
The Happenings,
Curtis Mayfield,
Faraquet,
The Toasters,
The Monochrome Set,
The Fuzztones,
The Birthday Party,
The West Coast Pop Art Experimental Band,
The Mummies,
Bang On A Can,
Glenn Branca,
Jacques Brel,
H. Thieme,
Absolute Body Control,
Thee Headcoats,
The Kinks,
The Walker Brothers,
Dead Boys,
Todd Rundgren, Todd Rundgren, Todd Rundgren, Todd Rundgren.
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.