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 Finland and from Tehran.
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 1973.
I'm losing my edge.
To all the kids in Philadelphia and Woodstock.
I'm losing my edge to the art-school Bologna 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 Wire practice in a loft in Watford.
I was working on the arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 Sonic Youth to the disco 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 Lou Reed. All the underground hits.
All Unwound tracks. I heard you have a vinyl of every Mark Hollis record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Dirtbombs record.
I hear that you and your band have sold your marimba and bought a theremin.
I hear that you and your band have sold your theremin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joey Negro,
Sound Behaviour,
Popol Vuh,
Sister Nancy,
Andrew Ashong & Theo Parrish,
Siglo XX,
Jeff Mills,
Teenage Jesus and the Jerks,
Country Teasers,
Sexual Harrassment,
Fat Boys,
Sight & Sound,
Steve Hackett,
The Gories,
Ludus,
Delon & Dalcan,
Masters at Work,
Amon Düül,
The Modern Lovers,
The Real Kids,
It's A Beautiful Day,
Ice-T,
Bizarre Inc.,
Larry & the Blue Notes,
The Saints,
The Beau Brummels,
The West Coast Pop Art Experimental Band,
Minor Threat,
Model 500,
Althea and Donna,
The Standells,
Tubeway Army,
Richard Hell and the Voidoids,
Leonard Cohen,
Fela Kuti,
Kerrie Biddell,
Parry Music,
John Coltrane,
Ronan,
The New Christs,
Lower 48,
David McCallum,
Marmalade,
Howard Jones,
Minnie Riperton,
Swans,
Buzzcocks,
Pete Rock & C.L. Smooth,
Grandmaster Flash and the Furious Five,
Guru Guru,
Hasil Adkins,
Jeru the Damaja,
June of 44,
Roxette,
Magazine,
Cal Tjader,
Hot Snakes,
Wings,
Lonnie Liston Smith,
the Fania All-Stars,
Curtis Mayfield,
Saccharine Trust,
Maleditus Sound,
Lafayette Afro Rock Band, Lafayette Afro Rock Band, Lafayette Afro Rock Band, Lafayette Afro Rock Band.
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.