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 Serbia and from Houston.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Taipei.
I'm losing my edge to the art-school Woodstock 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the rhodes sounds with much patience.
I was there when Robert Palmer 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 Dead Boys to the electroclash kids.
I played it at the Astoria.
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 The Grass Roots. All the underground hits.
All Traffic Nightmare tracks. I heard you have a vinyl of every Inner City 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 '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Suicide record.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scan 7,
Arcadia,
Maurizio,
The Techniques,
Slave,
Gang Starr,
Peter & Gordon,
Hoover,
Ituana,
Lou Reed,
The Sound,
Parry Music,
Sex Pistols,
T. Rex,
Strawberry Alarm Clock,
Wolf Eyes,
Byron Stingily,
Television Personalities,
Al Stewart,
Chris & Cosey,
Peter Gordon & Love of Life Orchestra,
A Flock of Seagulls,
Drexciya,
Dorothy Ashby,
The Selecter,
Bill Wells,
Lungfish,
Tears for Fears,
Essential Logic,
The United States of America,
Heavy D & The Boyz,
The Cosmic Jokers,
Skarface,
Gastr Del Sol,
One Last Wish,
Moby Grape,
the Slits,
Boogie Down Productions,
Nik Kershaw,
Oneida,
Lyres,
Archie Shepp,
Rufus Thomas,
Excepter,
Notorious BIG live in Amsterdam,
Godley & Creme,
Bang on a Can All-Stars,
Ornette Coleman,
Khruangbin,
the Swans,
DNA,
Ronnie Foster,
Pharaoh Sanders and the Fire Engines,
Fear,
Crime,
Leonard Cohen,
Minor Threat,
The Cramps,
Neil Young & Crazy Horse,
A Certain Ratio,
Hot Snakes,
The Detroit Cobras,
Barclay James Harvest, Barclay James Harvest, Barclay James Harvest, Barclay James Harvest.
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.