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 Fiji and from Houston.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Madrid and Salvador.
I'm losing my edge to the art-school Manchester 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 spring reverb 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 Dennis Brown to the dance kids.
I played it at the 40 Watt.
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 Smoke. All the underground hits.
All the Germs tracks. I heard you have a vinyl of every Suburban Knight 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 '70s cut and another box set from the '70s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Depeche Mode record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Detroit Cobras,
The Tremeloes,
Peter & Gordon,
The Fall,
Cymande,
The Smiths,
The Human League,
The Durutti Column,
Masters at Work,
The Star Department,
Terrestrial Tones,
Jandek,
Nik Kershaw,
The Doors,
Metal Thangz,
Alice Coltrane,
Blancmange,
Mo-Dettes,
ABC,
Henry Cow,
Sixth Finger,
Swans,
UT,
Jeff Lynne,
The Gun Club,
Grandmaster Flash and the Furious Five,
Susan Cadogan,
Lou Christie,
The Skatalites,
Byron Stingily,
Toni Rubio,
Gian Franco Pienzio,
Super Lover Cee & Casanova Rud,
The Motions,
Pere Ubu,
The Music Machine,
Blossom Toes,
The Grass Roots,
Glambeats Corp.,
The Associates,
The Monochrome Set,
Lou Reed,
Suburban Knight,
Interpol,
The Gories,
Arthur Verocai,
Tim Buckley,
Art Ensemble Of Chicago,
Desert Stars,
Aloha Tigers,
The Wake,
Lucky Dragons,
Barry Ungar,
Patti Smith,
The Pop Group,
Quadrant,
Louis and Bebe Barron,
Derrick Morgan,
The Leaves,
Rekid,
Basic Channel,
Sexual Harrassment,
Delta 5, Delta 5, Delta 5, Delta 5.
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.