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 Australia and from Bologna.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Shanghai and Johannesburg.
I'm losing my edge to the art-school Jakarta 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 güiro 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 Hashim to the grunge 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 Cluster. All the underground hits.
All A Flock of Seagulls tracks. I heard you have a vinyl of every The Associates record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Walker Brothers record.
I hear that you and your band have sold your snare and bought a guitar.
I hear that you and your band have sold your guitar and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
8 Eyed Spy,
The New Christs,
Tomorrow,
Bluetip,
Kings Of Tomorrow,
Underground Resistance,
The Dead C,
Moss Icon,
Warren Ellis,
Stiv Bators,
James Chance & The Contortions,
The Residents,
Max Romeo,
Pulsallama,
Barry Ungar,
Khruangbin,
John Cale,
Buzzcocks,
June Days,
Jimmy McGriff,
Siglo XX,
Black Flag,
The Blackbyrds,
The Wake,
The Alarm Clocks,
Radiopuhelimet,
The Sonics,
Kaleidoscope,
Louis and Bebe Barron,
Cameo,
Jeru the Damaja,
Mr. Review,
The Slackers,
Audionom,
The Skatalites,
Matthew Bourne,
Rod Modell,
The Cramps,
Quadrant,
Nirvana,
Lightning Bolt,
Malaria!,
KRS-One,
48th St. Collective,
The Red Krayola,
Gil Scott Heron,
Dead Boys,
Drive Like Jehu,
Barrington Levy,
Blake Baxter,
The Gap Band,
Amon Düül,
PIL,
Angry Samoans,
Avey Tare's Slasher Flicks,
Super Lover Cee & Casanova Rud,
Art Ensemble Of Chicago,
Maleditus Sound,
Nick Cave & The Bad Seeds,
the Slits, the Slits, the Slits, the Slits.
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.