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 Sao Paulo.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1975.
I'm losing my edge.
To all the kids in Bremen and Beijing.
I'm losing my edge to the art-school Tehran 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 güiro 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 Vaughan Mason & Crew to the grunge 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 Section 25. All the underground hits.
All Lakeside tracks. I heard you have a vinyl of every Technova record on German import.
I heard that you have a white label of every seminal dance 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 an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vaughan Mason & Crew,
Jesper Dahlbäck,
Swell Maps,
Mark Hollis,
Tubeway Army,
Roger Hodgson,
Black Sheep,
Royal Trux,
Junior Murvin,
Patti Smith,
Animal Collective,
Crash Course in Science,
Soft Cell,
Boredoms,
Terrestrial Tones,
Pantaleimon,
Con Funk Shun,
Juan Atkins,
Quadrant,
Japan,
Janne Schatter,
Stiv Bators,
DJ Sneak,
Fluxion,
Rhythm & Sound,
Neil Young & Crazy Horse,
Blancmange,
cv313,
The Motions,
Amon Düül II,
Sun City Girls,
The Fugs,
Soul Sonic Force,
Pagans,
Barry Ungar,
The Gap Band,
Gang Starr,
Graham Central Station,
Stereo Dub,
The Stooges,
Orchestral Manoeuvres in the Dark,
Crooked Eye,
The Kinks,
Tres Demented,
48th St. Collective,
Angry Samoans,
Lindisfarne,
Throbbing Gristle,
Agent Orange,
Drexciya,
Lou Reed & Metallica,
The Fall,
Banda Bassotti,
Tropical Tobacco,
Bootsy Collins,
the Sonics,
Bootsy's Rubber Band,
Malaria!,
Lightning Bolt,
The Gladiators,
Dead Boys, Dead Boys, Dead Boys, Dead Boys.
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.