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 Equatorial Guinea and from Spokane.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1977.
I'm losing my edge.
To all the kids in Jakarta and Manila.
I'm losing my edge to the art-school Toronto 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 rhodes 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 Vladislav Delay to the electroclash kids.
I played it at the Hacienda.
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 EPMD. All the underground hits.
All Pussy Galore tracks. I heard you have a vinyl of every The Chocolate Watch Band 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 '80s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Intrusion record.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cabaret Voltaire,
Suburban Knight,
Cal Tjader,
Desert Stars,
the Association,
New York Dolls,
Amon Düül II,
The Fugs,
Janne Schatter,
Chris Corsano,
Al Stewart,
Circle Jerks,
Mark Hollis,
UT,
World's Most,
Country Teasers,
The Alarm Clocks,
Fluxion,
Gang Starr,
The Mighty Diamonds,
The Doors,
David Axelrod,
Skaos,
Deutsch Amerikanische Freundschaft,
Magazine,
The Fall,
The Dirtbombs,
Scion,
Faraquet,
Tropical Tobacco,
Scrapy,
Khruangbin,
Panda Bear,
Sonic Youth,
Byron Stingily,
Fugazi,
Tomorrow,
The Slackers,
Ken Boothe,
David McCallum,
The Fortunes,
Barclay James Harvest,
Oppenheimer Analysis,
The Kinks,
Major Organ And The Adding Machine,
Nirvana,
DJ Style,
The Evens,
Eric B and Rakim,
Q65,
Pantytec,
the Soft Cell,
Deakin,
Dorothy Ashby,
Terror Squad Feat. Camron,
Section 25,
Gang Green,
In Retrospect,
Animal Collective,
Stiv Bators, Stiv Bators, Stiv Bators, Stiv Bators.
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.