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 Kosovo and from Manchester.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Manchester and Stockholm.
I'm losing my edge to the art-school Beijing 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 spring reverb 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 MC5 to the electroclash 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 Fort Wilson Riot. All the underground hits.
All Neil Young tracks. I heard you have a vinyl of every Electric Prunes 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 '50s cut and another box set from the '80s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Victims record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doors,
Vainqueur,
James White and The Blacks,
DJ Sneak,
CMW,
The Gories,
Minny Pops,
Roxette,
Jeru the Damaja,
Ponytail,
Television Personalities,
Talk Talk,
Selector Dub Narcotic,
Bobby Byrd,
Hoover,
Blake Baxter,
Hot Snakes,
The Fire Engines,
Motorama,
Moby Grape,
Ornette Coleman,
Mad Mike,
Robert Hood,
Sixth Finger,
Man Eating Sloth,
Babytalk,
Surgeon,
Anthony Braxton,
Gang Green,
Idris Muhammad,
KRS-One,
Scott Walker,
Electric Prunes,
The West Coast Pop Art Experimental Band,
A Flock of Seagulls,
Hardrive,
Monks,
Black Flag,
Morten Harket,
Thee Headcoats,
Darondo,
The Cowsills,
The Red Krayola,
Tropical Tobacco,
Depeche Mode,
Strawberry Alarm Clock,
Pagans,
Los Fastidios,
Johnny Clarke,
Aaron Thompson,
Ten City,
Flipper,
DJ Style,
Lou Christie,
Pulsallama,
Unrelated Segments,
The Gun Club,
Bootsy's Rubber Band,
Heavy D & The Boyz,
Bad Manners,
Dead Boys,
The Human League,
Eli Mardock, Eli Mardock, Eli Mardock, Eli Mardock.
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.