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 Qatar and from Manchester.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1979.
I'm losing my edge.
To all the kids in Jakarta and Manchester.
I'm losing my edge to the art-school Philadelphia 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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Lizzy Mercier Descloux to the rap 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 Derrick May. All the underground hits.
All Drexciya tracks. I heard you have a vinyl of every Jesper Dahlback record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Alton Ellis record.
I hear that you and your band have sold your guitar and bought a sitar.
I hear that you and your band have sold your sitar and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Bar-Kays,
Dark Day,
CMW,
Section 25,
Oblivians,
Angry Samoans,
Scott Walker,
Crispian St. Peters,
The Gun Club,
Deepchord,
Alphaville,
MC5,
Scion,
Crispy Ambulance,
Harpers Bizarre,
Siouxsie and the Banshees,
Blancmange,
Connie Case,
Grandmaster Flash,
Morten Harket,
Sparks,
Drexciya,
The Young Rascals,
Chrome,
The Zeros,
X-102,
The Evens,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Cowsills,
The Fuzztones,
Darondo,
Boogie Down Productions,
Jacob Miller,
Carl Craig,
Colin Newman,
Faust,
Drive Like Jehu,
The Count Five,
Bobby Byrd,
Matthew Halsall,
Bobbi Humphrey,
Second Layer,
Quando Quango,
The Toasters,
Laurel Aitken,
Pole,
Jerry Gold Smith,
Reuben Wilson,
Davy DMX,
Ten City,
Barbara Tucker,
Avey Tare & Kría Brekkan,
Rowland S Howard / Lydia Lunch,
Schoolly D,
Ossler,
Kings Of Tomorrow,
Black Flag,
Ornette Coleman,
Joyce Sims,
Scratch Acid,
A Certain Ratio,
A Flock of Seagulls,
This Heat, This Heat, This Heat, This Heat.
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.