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 Germany and from Beijing.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Portland and Manchester.
I'm losing my edge to the art-school Paris 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 Feelies practice in a loft in Haledon.
I was working on the güiro 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 The Cramps to the funk kids.
I played it at CBGB's.
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 The Slits. All the underground hits.
All Marvin Gaye tracks. I heard you have a vinyl of every Circle Jerks record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Yaz record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wire,
Cameo,
Barclay James Harvest,
Ice-T,
Frankie Knuckles,
Chris Corsano,
Eyeless In Gaza,
Cybotron,
Make Up,
Faust,
Bob Dylan,
Art Ensemble Of Chicago,
Peter & Gordon,
Harmonia,
Pole,
Audionom,
Aswad,
The Martian,
Terrestrial Tones,
Ajijia Myrayebe,
Sparks,
Ohio Players,
Urselle,
Spandau Ballet,
The Motions,
Röyhkä ja Rättö ja Lehtisalo,
The Fall,
Easy Going,
Lee Hazlewood,
Model 500,
Heaven 17,
Red Lorry Yellow Lorry,
MDC,
Ossler,
Swell Maps,
U.S. Maple,
Mantronix,
Wasted Youth,
N.O.R.E. Featuring Pharrell,
Panda Bear,
Traffic Nightmare,
The Gories,
ABBA,
Sex Pistols,
The Angels of Light,
Scan 7,
Bush Tetras,
The Vogues,
the Association,
Vladislav Delay,
Cal Tjader,
Rekid,
Goldenarms,
Idris Muhammad,
Los Fastidios,
F. McDonald,
Inner City,
Bobby Sherman,
Skarface,
L. Decosne,
The Birthday Party,
Danielle Patucci,
Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids.
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.