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 Iceland and from Delhi.
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 1970.
I'm losing my edge.
To all the kids in Salvador and Paris.
I'm losing my edge to the art-school Taipei 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the theremin sounds with much patience.
I was there when Holger Czukay 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 Smoke to the punk kids.
I played it at the Crocodile.
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 China Crisis. All the underground hits.
All Au Pairs tracks. I heard you have a vinyl of every Interpol record on German import.
I heard that you have a white label of every seminal rock 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 a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unrelated Segments,
Lakeside,
A Certain Ratio,
Deakin,
Model 500,
Drive Like Jehu,
Grey Daturas,
Hasil Adkins,
Eden Ahbez,
Carl Craig,
David McCallum,
Basic Channel,
Major Organ And The Adding Machine,
Swans,
The Royal Family And The Poor,
Agitation Free,
Sad Lovers and Giants,
Crispian St. Peters,
Shoche,
Fela Kuti,
Nirvana,
Scratch Acid,
Franke,
The Red Krayola,
Steve Hackett,
Connie Case,
The Golliwogs,
Moby Grape,
Smog,
Judy Mowatt,
La Düsseldorf,
Zero Boys,
Symarip,
Marmalade,
The Moody Blues,
Camron Feat. Jay Z And Juelz,
The Cramps,
Jesper Dahlbäck,
Louis and Bebe Barron,
Intrusion,
DeepChord presents Echospace,
James Chance & The Contortions,
Warsaw,
Bill Wells,
Quadrant,
Laurel Aitken,
Malaria!,
Gary Puckett & The Union Gap,
Sparks,
Liliput,
Quando Quango,
Au Pairs,
the Soft Cell,
Slick Rick,
Marcia Griffiths,
Jacques Brel,
Peter & Gordon,
Lebanon Hanover,
Siglo XX,
Goldenarms,
Avey Tare,
Eddi Front,
Bad Manners, Bad Manners, Bad Manners, Bad Manners.
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.