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 Colombia and from Manchester.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Accra and New York.
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 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 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 The Remains to the grime kids.
I played it at the Troubador.
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 Reuben Wilson. All the underground hits.
All Strawberry Alarm Clock tracks. I heard you have a vinyl of every Robert Görl 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 '50s cut and another box set from the '70s.
I hear you're buying a sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Major Organ And The Adding Machine record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Echo & the Bunnymen,
Ohio Players,
Sight & Sound,
Blossom Toes,
Eden Ahbez,
Khruangbin,
Louis and Bebe Barron,
Gang Gang Dance,
Spandau Ballet,
Bluetip,
The Barracudas,
Alton Ellis,
Smog,
Little Man,
Minny Pops,
Jeff Lynne,
Slave,
Country Teasers,
The Birthday Party,
The Young Rascals,
Andrew Ashong & Theo Parrish,
Interpol,
Easy Going,
Boogie Down Productions,
World's Most,
James White and The Blacks,
The Gun Club,
Letta Mbulu,
Ponytail,
Marcia Griffiths,
The Index,
Crime,
Rowland S Howard / Lydia Lunch,
Con Funk Shun,
Lalo Schifrin,
La Düsseldorf,
Morten Harket,
Bush Tetras,
Severed Heads,
The Cure,
Animal Collective,
Johnny Clarke,
Hashim,
the Slits,
Flamin' Groovies,
Eric Dolphy,
Dead Boys,
Angry Samoans,
The United States of America,
Model 500,
Desert Stars,
Parry Music,
Donald Byrd,
Notorious Big And Bone Thugs,
Super Lover Cee & Casanova Rud,
EPMD,
48th St. Collective,
Duran Duran,
Bang On A Can,
Kayak,
LL Cool J, LL Cool J, LL Cool J, LL Cool J.
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.