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 Uganda and from Jakarta.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Tehran.
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 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 The Standells to the rock 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 MC5. All the underground hits.
All B.T. Express tracks. I heard you have a vinyl of every Sex Pistols record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Quando Quango record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scott Walker,
the Sonics,
Sun Ra,
The Blues Magoos,
Stereo Dub,
Japan,
The Vogues,
Maleditus Sound,
Public Image Ltd.,
The Gories,
The Happenings,
Jimmy McGriff,
Janne Schatter,
Rod Modell,
Sam Rivers,
Ornette Coleman,
Public Enemy,
Reagan Youth,
Mantronix,
Gil Scott Heron,
Lucky Dragons,
Girls At Our Best!,
The Selecter,
Ronnie Foster,
Gerry Rafferty,
The Offenders,
The Mummies,
Art Ensemble Of Chicago,
Camberwell Now,
Jawbox,
CMW,
the Slits,
Slick Rick,
the Swans,
Harmonia,
Brass Construction,
The Blackbyrds,
Mr. Review,
Lower 48,
Faraquet,
London Community Gospel Choir,
Tomorrow,
Harpers Bizarre,
Ponytail,
Jerry's Kids,
David Axelrod,
Sandy B,
Cameo,
Slave,
Ludus,
Eyeless In Gaza,
The Count Five,
Amon Düül,
Barbara Tucker,
The Moody Blues,
Morten Harket,
Rekid,
Eve St. Jones,
Jeru the Damaja,
The Searchers,
Super Lover Cee & Casanova Rud,
Excepter, Excepter, Excepter, Excepter.
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.