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 Latvia and from Tehran.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Paris and Copenhagen.
I'm losing my edge to the art-school Madrid 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 Wire practice in a loft in Watford.
I was working on the sitar 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 Nas to the techno kids.
I played it at the Crocodile.
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 Brothers Johnson. All the underground hits.
All Larry & the Blue Notes tracks. I heard you have a vinyl of every Quadrant record on German import.
I heard that you have a white label of every seminal electroclash 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 spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a David Bowie record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Prunes,
Cecil Taylor,
Ralphi Rosario,
The Toasters,
Faraquet,
Oneida,
Joey Negro,
Funky Four + One,
Grandmaster Flash,
U.S. Maple,
B.T. Express,
The Five Americans,
10cc,
James White and The Blacks,
Kaleidoscope,
X-101,
T. Rex,
The Vogues,
K-Klass,
Sister Nancy,
Heavy D & The Boyz,
Arab on Radar,
Godley & Creme,
June Days,
Lower 48,
Hashim,
James Chance & The Contortions,
Justin Hinds & The Dominoes,
Rosa Yemen,
Pylon,
Archie Shepp,
Brothers Johnson,
a-ha,
The Divine Comedy,
Royal Trux,
Adolescents,
Marshall Jefferson,
The Monochrome Set,
Alphaville,
Dave Gahan,
The J.B.'s,
Jesper Dahlbäck,
Monks,
Steve Hackett,
DNA,
Thompson Twins,
Vainqueur,
Kings Of Tomorrow,
The Stooges,
Fluxion,
H. Thieme,
The Gladiators,
the Association,
The Raincoats,
Ludus,
Lou Reed, Lou Reed, Lou Reed, Lou Reed.
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.