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 Venezuela and from Shanghai.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 Philadelphia and Beijing.
I'm losing my edge to the art-school Portland 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 Lou Reed 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 Fort Wilson Riot to the rock 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 Public Enemy. All the underground hits.
All Kerri Chandler tracks. I heard you have a vinyl of every Buzzcocks record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Tomorrow record.
I hear that you and your band have sold your 808 and bought a sitar.
I hear that you and your band have sold your sitar and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tres Demented,
Bang On A Can,
The Dirtbombs,
B.T. Express,
Nik Kershaw,
Panda Bear,
The Moleskins,
Michelle Simonal,
Boogie Down Productions,
Rowland S Howard / Lydia Lunch,
AZ,
CMW,
Neu!,
Flamin' Groovies,
Crash Course in Science,
Stockholm Monsters,
Fatback Band,
Blancmange,
Glenn Branca,
The New Christs,
Roy Ayers Ubiquity,
Boredoms,
Donald Byrd,
Fluxion,
Nation of Ulysses,
The Cowsills,
Marshall Jefferson,
T.S.O.L.,
Soul II Soul,
Scratch Acid,
Strawberry Alarm Clock,
Khruangbin,
The American Breed,
Scientists,
Fat Boys,
Red Lorry Yellow Lorry,
Morten Harket,
Johnny Osbourne,
Sam Rivers,
Colin Newman,
Thee Headcoats,
Hot Snakes,
The Cosmic Jokers,
Kaleidoscope,
Tears for Fears,
Adolescents,
Louis and Bebe Barron,
The Royal Family And The Poor,
Second Layer,
The Fire Engines,
Notorious BIG live in Amsterdam,
Angry Samoans,
David McCallum,
Moss Icon,
The Shadows of Knight,
Delta 5,
The Beau Brummels,
Robert Görl,
Rites of Spring,
Main Source,
Cabaret Voltaire,
Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids.
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.