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 Saudi Arabia and from Philadelphia.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Beijing and Halifax.
I'm losing my edge to the art-school Columbus 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 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 Bad Manners to the techno 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 Dual Sessions. All the underground hits.
All Lafayette Afro Rock Band tracks. I heard you have a vinyl of every The Kinks record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Rufus Thomas record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Reuben Wilson,
Model 500,
Mo-Dettes,
Grauzone,
Mark Hollis,
John Foxx,
Neu!,
Eyeless In Gaza,
Bobbi Humphrey,
Alice Coltrane,
The Doobie Brothers,
8 Eyed Spy,
Ultra Naté,
Alison Limerick,
Chrome,
Byron Stingily,
Boredoms,
Section 25,
Jerry Gold Smith,
Jeff Mills,
Swans,
The Music Machine,
Swell Maps,
Sam Rivers,
Marc Almond,
The Grass Roots,
The Raincoats,
The Gladiators,
Flamin' Groovies,
Cameo,
Bauhaus,
Frankie Knuckles,
Bluetip,
Jawbox,
Hashim,
Oppenheimer Analysis,
Moby Grape,
Grey Daturas,
Rowland S Howard / Lydia Lunch,
Kenny Larkin,
John Coltrane,
Roxy Music,
Lee Hazlewood,
Orchestral Manoeuvres in the Dark,
Desert Stars,
Absolute Body Control,
The Sound,
Crispian St. Peters,
DNA,
Stereo Dub,
Sad Lovers and Giants,
Freddie Wadling,
Spandau Ballet,
The Remains,
Suicide,
The Durutti Column,
Sonny Sharrock,
Marc Romboy vs. Booka Shade,
The Evens,
David Bowie,
Siouxsie and the Banshees,
Banda Bassotti,
Altered Images,
Röyhkä ja Rättö ja Lehtisalo,
Fugazi, Fugazi, Fugazi, Fugazi.
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.