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 Togo and from Salvador.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Lyon and Taipei.
I'm losing my edge to the art-school Lille 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 1976 at the first Wire practice in a loft in Watford.
I was working on the güiro sounds with much patience.
I was there when Michael McDonald 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 Half Japanese to the funk kids.
I played it at Trash.
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 Magazine. All the underground hits.
All Scion tracks. I heard you have a vinyl of every Wings record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Lungfish record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Prunes,
Leonard Cohen,
Groovy Waters,
Country Teasers,
Gerry Rafferty,
Sexual Harrassment,
LL Cool J,
Dennis Brown,
John Coltrane,
Japan,
Avey Tare,
Gabor Szabo,
Gang Starr,
Stockholm Monsters,
Malaria!,
Scott Walker,
Procol Harum,
Interpol,
Ohio Players,
Roy Ayers Ubiquity,
Rhythim Is Rhythim,
The Saints,
The Toasters,
Tubeway Army,
Visage,
Scrapy,
Marmalade,
Pete Rock & C.L. Smooth,
The Move,
Lakeside,
Sparks,
Jesper Dahlback,
Deakin,
Roxy Music,
CMW,
The Pretty Things,
Suicide,
The Litter,
X-Ray Spex,
Pere Ubu,
The Stooges,
Essential Logic,
Freddie Wadling,
Schoolly D,
Kevin Saunderson,
Camouflage,
Faraquet,
Au Pairs,
Underground Resistance,
Lucky Dragons,
Ultimate Spinach,
Ossler,
Johnny Clarke,
Deutsch Amerikanische Freundschaft,
Minnie Riperton,
Model 500,
Section 25,
X-102,
The Modern Lovers,
Jawbox,
Yaz,
Neil Young & Crazy Horse,
Echospace,
Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock.
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.