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 Honduras and from Taipei.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Calgary and Tehran.
I'm losing my edge to the art-school Mumbai 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 chamberlin 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 Sonic Youth to the crunk 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 The Toasters. All the underground hits.
All Theoretical Girls tracks. I heard you have a vinyl of every The American Breed record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Easy Going,
Pharoah Sanders,
Jawbox,
U.S. Maple,
Aural Exciters,
Vaughan Mason & Crew,
Country Teasers,
Dawn Penn,
Strawberry Alarm Clock,
Sun City Girls,
Gil Scott-Heron & Brian Jackson,
Mandrill,
The Stooges,
Marmalade,
The Doors,
The West Coast Pop Art Experimental Band,
The Human League,
Matthew Bourne,
The Jesus and Mary Chain,
The Skatalites,
The United States of America,
Faust,
Fugazi,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Idris Muhammad,
The Alarm Clocks,
Traffic Nightmare,
Ronnie Foster,
The Victims,
The Martian,
Röyhkä ja Rättö ja Lehtisalo,
Warsaw,
Liaisons Dangereuses,
Skaos,
Soft Machine,
Black Sheep,
ABBA,
Barry Ungar,
The Slackers,
Fat Boys,
Bluetip,
The Men They Couldn't Hang,
The Seeds,
Gang Green,
Major Organ And The Adding Machine,
Franke,
Ultra Naté,
Kerri Chandler,
Amon Düül,
Electric Prunes,
Rosa Yemen,
Urselle,
Fatback Band,
Rapeman,
Q and Not U,
Amazonics,
Make Up,
The Beau Brummels,
Johnny Clarke,
The Kinks,
Spoonie Gee,
The Knickerbockers,
Radiopuhelimet, Radiopuhelimet, Radiopuhelimet, Radiopuhelimet.
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.