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 Finland and from Stockholm.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Bremen and Woodstock.
I'm losing my edge to the art-school Copenhagen 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 808 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 The Gories to the disco kids.
I played it at the Troubador.
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 Franke. All the underground hits.
All The Fire Engines tracks. I heard you have a vinyl of every Unrelated Segments record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Sex Pistols record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Shadows of Knight,
Urselle,
It's A Beautiful Day,
The Toasters,
The Sonics,
Rhythm & Sound,
Make Up,
Wings,
The Invisible,
Essential Logic,
Anthony Braxton,
Magazine,
Camron Feat. Memphis Bleek And Beenie Seigel,
Mo-Dettes,
Scientists,
Loose Ends,
Zapp,
Los Fastidios,
The Angels of Light,
Kaleidoscope,
Flamin' Groovies,
Lebanon Hanover,
Jawbox,
Swell Maps,
Scott Walker,
Subhumans,
Hot Snakes,
The Techniques,
Idris Muhammad,
Crispian St. Peters,
Shoche,
Spandau Ballet,
Stiv Bators,
Notorious Big And Bone Thugs,
Kool Moe Dee,
Chrome,
Susan Cadogan,
A Certain Ratio,
Pierre Henry,
Spoonie Gee,
AZ,
Dead Boys,
Reuben Wilson,
Alphaville,
Bauhaus,
Gary Puckett & The Union Gap,
Andrew Ashong & Theo Parrish,
EPMD,
Eric Dolphy,
Clear Light,
Yaz,
Gil Scott-Heron and Jamie xx,
Juan Atkins,
Malaria!,
Thinking Fellers Union Local 282,
Deutsch Amerikanische Freundschaft,
LL Cool J,
Hoover,
Crash Course in Science,
Janne Schatter,
The Pop Group,
Eden Ahbez,
The Fall, The Fall, The Fall, The Fall.
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.