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 Solomon Islands and from Tehran.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Mexico City.
I'm losing my edge to the art-school Mumbai 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 marimba 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 Names to the electroclash kids.
I played it at Cafe Wha.
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 Morten Harket. All the underground hits.
All Simply Red tracks. I heard you have a vinyl of every Sonny Sharrock record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Lower 48 record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
New York Dolls,
Laurel Aitken,
Thompson Twins,
Henry Cow,
Nico,
The Real Kids,
Toni Rubio,
Grandmaster Flash and the Furious Five,
Babytalk,
Moebius,
Motorama,
Rod Modell,
X-Ray Spex,
Aaron Thompson,
Pagans,
Aswad,
D'Angelo,
Lindisfarne,
Robert Wyatt,
Pharoah Sanders,
Girls At Our Best!,
Outsiders,
Lalo Schifrin,
Pole,
Eyeless In Gaza,
Public Enemy,
Bush Tetras,
Avey Tare & Kría Brekkan,
Jesper Dahlback,
Magazine,
Radiopuhelimet,
Siouxsie and the Banshees,
Frankie Knuckles,
Strawberry Alarm Clock,
Lou Reed & John Cale,
DeepChord presents Echospace,
The Slackers,
Selector Dub Narcotic,
The Blues Magoos,
Visage,
Pantaleimon,
Ultramagnetic MC's,
Kenny Larkin,
Donald Byrd,
Minor Threat,
Junior Murvin,
The Techniques,
MC5,
Joe Finger,
Todd Rundgren,
Bill Near,
The Moody Blues,
Anakelly,
cv313,
Public Image Ltd.,
The Walker Brothers,
Dual Sessions,
The Music Machine,
The Motions, The Motions, The Motions, The Motions.
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.