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 Canada and from Lille.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Halifax and Spokane.
I'm losing my edge to the art-school Tokyo 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 Feelies practice in a loft in Haledon.
I was working on the spring reverb sounds with much patience.
I was there when Robert Palmer 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 New Order to the crunk kids.
I played it at the 40 Watt.
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 UT. All the underground hits.
All Joe Smooth tracks. I heard you have a vinyl of every the Swans record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Captain Beefheart & His Magic Band record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-Ray Spex,
Siouxsie and the Banshees,
Interpol,
London Community Gospel Choir,
The Pop Group,
Country Teasers,
Guru Guru,
Fort Wilson Riot,
Bauhaus,
Albert Ayler,
Wighnomy Brothers & Robag Wruhme,
Fluxion,
Boz Scaggs,
The Wake,
Jeff Mills,
John Cale,
Lightning Bolt,
Sex Pistols,
Das Ding,
Rufus Thomas,
These Immortal Souls,
Bluetip,
Icehouse,
Toni Rubio,
Isaac Hayes,
The Index,
The Cramps,
Max Romeo,
Archie Shepp,
Tropical Tobacco,
Goldenarms,
Peter and Kerry,
Sixth Finger,
Lakeside,
The Names,
Gary Puckett & The Union Gap,
Pantytec,
Agent Orange,
Amon Düül,
Magma,
Sonny Sharrock,
The Moleskins,
Shoche,
Jacques Brel,
Ronnie Foster,
Metal Thangz,
Harpers Bizarre,
The Flesh Eaters,
Simply Red,
the Soft Cell,
Gregory Isaacs,
Erykah Badu,
Nation of Ulysses,
The Doors,
Graham Central Station,
Bobbi Humphrey,
Sarah Menescal,
The Real Kids,
The Sisters of Mercy,
kango's stein massive,
Peter & Gordon,
Lonnie Liston Smith,
the Fania All-Stars,
Brick, Brick, Brick, Brick.
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.