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 Georgia and from Mexico City.
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 1961 to 1977.
I'm losing my edge.
To all the kids in London and Edmonton.
I'm losing my edge to the art-school Accra 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 oboe 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 Mummies to the jazz kids.
I played it at Trash.
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 Peter Gordon & Love of Life Orchestra. All the underground hits.
All Tim Buckley tracks. I heard you have a vinyl of every Masters at Work 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 '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Bronski Beat record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scion,
Lakeside,
Thompson Twins,
The Dave Clark Five,
Bootsy Collins,
Heaven 17,
Grandmaster Flash and the Furious Five,
Joe Smooth,
The Young Rascals,
Underground Resistance,
Smog,
The Alarm Clocks,
It's A Beautiful Day,
The Neon Judgement,
June Days,
Kenny Larkin,
Aural Exciters,
DJ Style,
Marine Girls,
Echo & the Bunnymen,
The Techniques,
The Flesh Eaters,
Electric Prunes,
Quando Quango,
Q and Not U,
Kango’s Stein Massive,
FM Einheit,
The Gories,
The United States of America,
Depeche Mode,
Silicon Teens,
Sun Ra Arkestra,
Major Organ And The Adding Machine,
Heavy D & The Boyz,
Lonnie Liston Smith,
The Motions,
Gang Starr,
Sun City Girls,
The Monks,
Neu!,
Gang Gang Dance,
The Mummies,
Crispy Ambulance,
Joyce Sims,
Harpers Bizarre,
Idris Muhammad,
Avey Tare's Slasher Flicks,
Jerry Gold Smith,
B.T. Express,
Negative Approach,
Peter and Kerry,
Funky Four + One,
Zapp,
The Black Dice,
Groovy Waters,
Radiohead,
Alton Ellis,
Monks,
Bobby Hutcherson,
the Slits,
Jimmy McGriff,
Main Source, Main Source, Main Source, Main Source.
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.