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 Estonia 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 1963 to 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Columbus.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the arpeggiator 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 The Gun Club to the jazz kids.
I played it at the Troubador.
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 Richard Hell and the Voidoids. All the underground hits.
All Kerrie Biddell tracks. I heard you have a vinyl of every Television record on German import.
I heard that you have a white label of every seminal crunk 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 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Bronski Beat record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bang on a Can All-Stars,
Spandau Ballet,
Amon Düül II,
Fela Kuti,
Lafayette Afro Rock Band,
Shuggie Otis,
The Dead C,
Wire,
Skriet,
Ten City,
Tommy Roe,
Quadrant,
The Moody Blues,
Urselle,
Bobby Sherman,
Aaron Thompson,
Delta 5,
The Selecter,
Tubeway Army,
Y Pants,
Brass Construction,
the Slits,
Khruangbin,
Camron Feat. Memphis Bleek And Beenie Seigel,
Scratch Acid,
Gang Green,
Lindisfarne,
Drexciya,
Index,
Youth Brigade,
Grey Daturas,
Fear,
the Fania All-Stars,
Panda Bear,
Main Source,
Fluxion,
Andrew Hill,
Beasts of Bourbon,
Dead Boys,
Sällskapet,
The American Breed,
In Retrospect,
The Walker Brothers,
Gil Scott-Heron & Brian Jackson,
Young Marble Giants,
The Fortunes,
Soul II Soul,
Sexual Harrassment,
Kerri Chandler,
Loose Ends,
Vainqueur,
The Techniques,
Audionom,
Mary Jane Girls,
Marc Almond,
Bill Near,
PIL,
the Soft Cell,
Radio Birdman,
Rowland S Howard / Lydia Lunch,
Black Sheep,
The Searchers,
The Doobie Brothers, The Doobie Brothers, The Doobie Brothers, The Doobie Brothers.
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.