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 Peru and from Bremen.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Lille and Copenhagen.
I'm losing my edge to the art-school Paris 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 Wire practice in a loft in Watford.
I was working on the organ 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 Richard Hell and the Voidoids to the funk 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 Whodini. All the underground hits.
All Black Pus tracks. I heard you have a vinyl of every Andrew Ashong & Theo Parrish record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Joe Finger record.
I hear that you and your band have sold your guitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nation of Ulysses,
The Doors,
Zero Boys,
Tomorrow,
FM Einheit,
Bobby Byrd,
Whodini,
Alton Ellis,
Slick Rick,
Yellowson,
The Chocolate Watch Band,
Lou Reed & Metallica,
Black Pus,
Joensuu 1685,
Albert Ayler,
The Walker Brothers,
The United States of America,
Icehouse,
Strawberry Alarm Clock,
The Moleskins,
Guru Guru,
The Victims,
Lee Hazlewood,
Radio Birdman,
Ultramagnetic MC's,
Marine Girls,
Eyeless In Gaza,
Kerri Chandler,
James Chance & The Contortions,
Minny Pops,
Heavy D & The Boyz,
Babytalk,
John Cale,
Lower 48,
The J.B.'s,
Echo & the Bunnymen,
Andrew Hill,
Roxette,
Gary Puckett & The Union Gap,
The Fire Engines,
The Birthday Party,
Josef K,
The Buckinghams,
The Music Machine,
Grauzone,
Gian Franco Pienzio,
Goldenarms,
Erasure,
the Slits,
Heaven 17,
Scratch Acid,
Joyce Sims,
Lyres,
Gerry Rafferty,
Avey Tare,
D'Angelo,
Urselle,
Ultravox,
Porter Ricks,
Maleditus Sound,
Drive Like Jehu,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.