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 Iraq and from Glasgow.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Salvador and London.
I'm losing my edge to the art-school Madrid 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the mellotron 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 Iggy Pop to the rap kids.
I played it at the Astoria.
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 Strawberry Alarm Clock. All the underground hits.
All Art Ensemble Of Chicago tracks. I heard you have a vinyl of every Howard Jones record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Aloha Tigers record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flipper,
The Fortunes,
Swans,
the Human League,
Buzzcocks,
The Music Machine,
Scientists,
Johnny Osbourne,
Terry Callier,
Fatback Band,
Radiopuhelimet,
Rakim,
Icehouse,
Bill Near,
Sex Pistols,
Duran Duran,
Grey Daturas,
D'Angelo,
Letta Mbulu,
FM Einheit,
Aaron Thompson,
Crispian St. Peters,
Cabaret Voltaire,
The Cramps,
Tears for Fears,
Moss Icon,
Neil Young,
L. Decosne,
Black Bananas,
The Cowsills,
The Move,
Soft Cell,
Toni Rubio,
Ultramagnetic MC's,
a-ha,
A Flock of Seagulls,
Mark Hollis,
New Order,
Echospace,
Arthur Verocai,
Morten Harket,
Warren Ellis,
Bootsy's Rubber Band,
Monks,
Sarah Menescal,
The Index,
Black Flag,
Harmonia,
Yaz,
Television,
The Fugs,
Angry Samoans,
Slave,
Kurtis Blow,
Faust,
The Royal Family And The Poor,
the Fania All-Stars,
AZ,
Guru Guru,
La Düsseldorf,
Marshall Jefferson,
Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza.
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.