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 Japan and from Woodstock.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Delhi.
I'm losing my edge to the art-school Houston 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 1984 at the first Arcadia practice in a loft in London.
I was working on the sitar sounds with much patience.
I was there when Lou Reed 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 Minor Threat to the jazz 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 Goldenarms. All the underground hits.
All Fela Kuti tracks. I heard you have a vinyl of every Sarah Menescal 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 '50s cut and another box set from the '70s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Pete Rock & C.L. Smooth record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glambeats Corp.,
The Searchers,
Fat Boys,
The Walker Brothers,
Moebius,
Animal Collective,
Aaron Thompson,
Soft Machine,
Lakeside,
Accadde A,
Glenn Branca,
Albert Ayler,
Skriet,
Avey Tare's Slasher Flicks,
Minutemen,
Mandrill,
Crooked Eye,
L. Decosne,
Model 500,
Dawn Penn,
Radio Birdman,
Soulsonic Force,
Interpol,
The Zeros,
The Remains,
The Doobie Brothers,
Al Stewart,
Q and Not U,
Little Man,
The Smoke,
Can,
Janne Schatter,
the Bar-Kays,
Unwound,
Technova,
Bauhaus,
The Jesus and Mary Chain,
Spandau Ballet,
Sällskapet,
Barbara Tucker,
Blossom Toes,
Second Layer,
Loose Ends,
ABC,
Peter Gordon & Love of Life Orchestra,
The Seeds,
Donald Byrd,
The Cure,
The West Coast Pop Art Experimental Band,
Byron Stingily,
Monks,
The Sonics,
John Holt,
The Slackers,
In Retrospect,
DNA,
Altered Images,
Von Mondo,
Magazine,
Andrew Hill,
Gang of Four,
Deutsch Amerikanische Freundschaft,
Country Joe & The Fish,
48th St. Collective, 48th St. Collective, 48th St. Collective, 48th St. Collective.
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.