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 Guyana and from Manchester.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Hong Kong and Shanghai.
I'm losing my edge to the art-school Woodstock 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the snare sounds with much patience.
I was there when Robert Palmer 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 Leonard Cohen to the techno kids.
I played it at the Roxy.
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 The Sisters of Mercy. All the underground hits.
All Joensuu 1685 tracks. I heard you have a vinyl of every Strawberry Alarm Clock 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 an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Black Dice record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Litter,
New York Dolls,
X-101,
Public Enemy,
Jacob Miller,
Curtis Mayfield,
Minnie Riperton,
The Durutti Column,
Spandau Ballet,
Aural Exciters,
Radiohead,
Pharaoh Sanders and the Fire Engines,
China Crisis,
This Heat,
Faraquet,
Mark Hollis,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
U.S. Maple,
Suburban Knight,
Flamin' Groovies,
New Age Steppers,
The Index,
Crash Course in Science,
Mr. Review,
Pantytec,
Sarah Menescal,
The Busters,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Techniques,
UT,
Rowland S Howard / Lydia Lunch,
Rod Modell,
Arthur Verocai,
Saccharine Trust,
T.S.O.L.,
Freddie Wadling,
Mad Mike,
Audionom,
The Gun Club,
Cabaret Voltaire,
Minutemen,
Sight & Sound,
Derrick May,
OOIOO,
Grandmaster Flash,
Piero Umiliani,
Funky Four + One,
Schoolly D,
Kurtis Blow,
Peter Gordon & Love of Life Orchestra,
Siglo XX,
Dennis Brown,
Silicon Teens,
X-Ray Spex,
Thee Headcoats,
Tim Buckley,
Liaisons Dangereuses,
Bob Dylan,
Marshall Jefferson,
Von Mondo,
Visage, Visage, Visage, Visage.
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.