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 Tunisia and from Glasgow.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Philadelphia and Stockholm.
I'm losing my edge to the art-school Woodstock 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 snare 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 Liaisons Dangereuses to the funk 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 Babytalk. All the underground hits.
All Barrington Levy tracks. I heard you have a vinyl of every Manfred Mann's Earth Band record on German import.
I heard that you have a white label of every seminal grunge 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 a snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flipper,
Royal Trux,
Marmalade,
Thinking Fellers Union Local 282,
Ossler,
James Chance & The Contortions,
Larry & the Blue Notes,
Crispian St. Peters,
Janne Schatter,
The Litter,
The Techniques,
The Names,
Lightning Bolt,
Camouflage,
The Human League,
Blossom Toes,
Bluetip,
The Fuzztones,
Thee Headcoats,
Infiniti,
Reuben Wilson,
Faraquet,
Richard Hell and the Voidoids,
Soft Machine,
Vaughan Mason & Crew,
Supertramp,
The Star Department,
Cameo,
Hardrive,
Basic Channel,
Orchestral Manoeuvres in the Dark,
Monks,
Junior Murvin,
Loose Ends,
The Golliwogs,
MDC,
Gichy Dan,
Scrapy,
The Modern Lovers,
Bob Dylan,
The Stooges,
Crash Course in Science,
Joensuu 1685,
The Gories,
Eve St. Jones,
Connie Case,
Gang Gang Dance,
The Cure,
Hoover,
E-Dancer,
Sixth Finger,
Big Daddy Kane,
New York Dolls,
The Tremeloes,
Kauko Röyhkä ja Narttu,
Angels of Light & Akron/Family,
Nick Cave & The Bad Seeds,
Technova,
Wasted Youth,
Magazine,
The Pop Group, The Pop Group, The Pop Group, The Pop Group.
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.