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 Nepal and from Salvador.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Lyon and Tokyo.
I'm losing my edge to the art-school London 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 Tom Verlaine 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 Judy Mowatt to the punk kids.
I played it at Trash.
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 Patti Smith. All the underground hits.
All X-Ray Spex tracks. I heard you have a vinyl of every Tres Demented record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp record.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Japan,
Derrick May,
June of 44,
Funkadelic,
Urselle,
The Grass Roots,
Josef K,
Dual Sessions,
Oblivians,
Radiopuhelimet,
Amon Düül II,
Animal Collective,
Amon Düül,
Jacques Brel,
Neu!,
The Last Poets,
Jacob Miller,
Sister Nancy,
Gong,
The Victims,
Young Marble Giants,
X-Ray Spex,
The Evens,
Delon & Dalcan,
The Associates,
Basic Channel,
Laurel Aitken,
FM Einheit,
Girls At Our Best!,
The Seeds,
Darondo,
AZ,
Flamin' Groovies,
Visage,
The Fuzztones,
Frankie Knuckles,
Robert Wyatt,
Main Source,
Thee Headcoats,
Gregory Isaacs,
Bush Tetras,
Peter and Kerry,
The Walker Brothers,
Blossom Toes,
Johnny Clarke,
Eddi Front,
Boz Scaggs,
Howard Jones,
Thompson Twins,
Marc Romboy vs. Booka Shade,
June Days,
Underground Resistance,
Leonard Cohen,
Glenn Branca,
Black Moon,
Soul II Soul,
the Association,
Selector Dub Narcotic,
Rakim,
H. Thieme,
LL Cool J,
Ossler,
Freddie Wadling, Freddie Wadling, Freddie Wadling, Freddie Wadling.
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.