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 Slovakia and from Spokane.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1970.
I'm losing my edge.
To all the kids in Tokyo and Manchester.
I'm losing my edge to the art-school Houston 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 theremin 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 Blossom Toes to the punk kids.
I played it at the Hacienda.
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 Niagra. All the underground hits.
All Agent Orange tracks. I heard you have a vinyl of every The Moody Blues 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 '80s cut and another box set from the '70s.
I hear you're buying an organ and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cosmic Jokers,
The Associates,
Girls At Our Best!,
Eyeless In Gaza,
B.T. Express,
Glambeats Corp.,
Marcia Griffiths,
Severed Heads,
John Foxx,
The Walker Brothers,
The Raincoats,
Max Romeo,
Gastr Del Sol,
Maurizio,
James White and The Blacks,
Silicon Teens,
Barclay James Harvest,
Masters at Work,
Black Pus,
Desert Stars,
Gil Scott-Heron & Brian Jackson,
Matthew Halsall,
Quadrant,
Rakim,
Electric Prunes,
The Leaves,
Aswad,
Frankie Knuckles,
The Grass Roots,
Pantaleimon,
Kauko Röyhkä ja Narttu,
Notorious BIG live in Amsterdam,
Röyhkä ja Rättö ja Lehtisalo,
Ten City,
The Mighty Diamonds,
Dark Day,
Flash Fearless,
Metal Thangz,
Donald Byrd,
Los Fastidios,
Janne Schatter,
Thee Headcoats,
Malaria!,
Vladislav Delay,
Echo & the Bunnymen,
The Golliwogs,
48th St. Collective,
Eli Mardock,
Rhythm & Sound,
The Modern Lovers,
Second Layer,
Big Daddy Kane,
Half Japanese,
Avey Tare's Slasher Flicks,
Roxette,
Jesper Dahlbäck,
Stereo Dub,
Mo-Dettes,
Panda Bear,
The Jesus and Mary Chain,
Thinking Fellers Union Local 282,
Crispian St. Peters, Crispian St. Peters, Crispian St. Peters, Crispian St. Peters.
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.