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 Korea South and from Stockholm.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Mumbai and Bremen.
I'm losing my edge to the art-school Hong Kong 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 Soft Boys practice in a loft in Cambridge.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Pylon to the electroclash 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 Cluster. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every Rotary Connection record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Newcleus record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gian Franco Pienzio,
Gil Scott-Heron & Brian Jackson,
Al Stewart,
Rapeman,
James Chance & The Contortions,
Maleditus Sound,
Cecil Taylor,
The Gladiators,
Pharoah Sanders,
Electric Prunes,
Sonic Youth,
Kayak,
Y Pants,
Scrapy,
Das Ding,
X-101,
Quadrant,
In Retrospect,
Ultramagnetic MC's,
Zapp,
Angels of Light & Akron/Family,
Janne Schatter,
The Pretty Things,
Toni Rubio,
The Buckinghams,
Pylon,
Radiohead,
Ituana,
Easy Going,
Delta 5,
The Misunderstood,
Louis and Bebe Barron,
Country Teasers,
Lakeside,
The Flesh Eaters,
Kenny Larkin,
Rhythim Is Rhythim,
One Last Wish,
Andrew Ashong & Theo Parrish,
Danielle Patucci,
Johnny Clarke,
T. Rex,
Oppenheimer Analysis,
The Golliwogs,
Clear Light,
Boredoms,
CMW,
Mary Jane Girls,
This Heat,
The Music Machine,
Animal Collective,
Procol Harum,
Bill Near,
Mo-Dettes,
Public Enemy,
The Evens,
The Cosmic Jokers,
LL Cool J,
The Happenings,
Derrick May,
The Modern Lovers, The Modern Lovers, The Modern Lovers, The Modern Lovers.
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.