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 Luxembourg and from Columbus.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Delhi and Manchester.
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 1983 at the first Bronski Beat practice in a loft in Brixton.
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 Bob Dylan to the rock kids.
I played it at CBGB's.
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 Pussy Galore. All the underground hits.
All Grandmaster Flash and the Furious Five tracks. I heard you have a vinyl of every Terry Callier record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drive Like Jehu,
The Standells,
Major Organ And The Adding Machine,
Electric Prunes,
Dave Gahan,
Albert Ayler,
Sonny Sharrock,
Art Ensemble Of Chicago,
Nils Olav,
Pole,
FM Einheit,
Big Daddy Kane,
The Beau Brummels,
Tubeway Army,
Circle Jerks,
Henry Cow,
Heavy D & The Boyz,
Max Romeo,
Tommy Roe,
Metal Thangz,
Jacques Brel,
The Evens,
The Blues Magoos,
Sam Rivers,
Michelle Simonal,
Andrew Ashong & Theo Parrish,
Rhythm & Sound,
Boz Scaggs,
The Jesus and Mary Chain,
Kool Moe Dee,
Marcia Griffiths,
Boredoms,
The Real Kids,
Harpers Bizarre,
The Selecter,
Hot Snakes,
The Knickerbockers,
Eric Copeland,
Franke,
Intrusion,
The Dirtbombs,
Oneida,
Desert Stars,
Louis and Bebe Barron,
The Fugs,
The Alarm Clocks,
Groovy Waters,
Archie Shepp,
Ludus,
Deutsch Amerikanische Freundschaft,
Roger Hodgson,
the Association,
Lou Reed & John Cale,
Half Japanese,
K-Klass,
Amon Düül II,
Marmalade,
Cameo,
Alton Ellis,
the Soft Cell,
cv313,
Unwound,
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.