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 Libya and from Jakarta.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Lagos and Manchester.
I'm losing my edge to the art-school Taipei 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 Captain Beefheart 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 Neu! to the jazz kids.
I played it at CBGB's.
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 Gang Starr. All the underground hits.
All Crispy Ambulance tracks. I heard you have a vinyl of every Lou Reed record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Be Bop Deluxe record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
K-Klass,
Robert Hood,
Rites of Spring,
The Names,
Underground Resistance,
PIL,
Hot Snakes,
Derrick Morgan,
Susan Cadogan,
Eddi Front,
Nirvana,
Boogie Down Productions,
Barclay James Harvest,
D'Angelo,
Scion,
John Foxx,
Marcia Griffiths,
Nik Kershaw,
Isaac Hayes,
Trumans Water,
Al Stewart,
Darondo,
The Walker Brothers,
Soft Machine,
Amazonics,
Notorious BIG live in Amsterdam,
Janne Schatter,
Hardrive,
Minny Pops,
Parry Music,
Scan 7,
Black Moon,
Goldenarms,
Rhythm & Sound,
Cybotron,
Kango’s Stein Massive,
Jesper Dahlbäck,
Lyres,
Swell Maps,
Aaron Thompson,
Ronan,
Stockholm Monsters,
Animal Collective,
Ohio Players,
Sun Ra Arkestra,
Arab on Radar,
Nation of Ulysses,
Marc Romboy vs. Booka Shade,
Nico,
Bizarre Inc.,
Drive Like Jehu,
The Remains,
June Days,
Letta Mbulu,
Amon Düül,
The Gap Band,
Los Fastidios,
Liaisons Dangereuses,
Ajijia Myrayebe,
Charles Mingus, Charles Mingus, Charles Mingus, Charles Mingus.
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.