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 Ireland and from Lyon.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Hong Kong and Milan.
I'm losing my edge to the art-school Lagos 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 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 Mantronix to the electroclash kids.
I played it at Cafe Wha.
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 Monolake. All the underground hits.
All The Litter tracks. I heard you have a vinyl of every Sexual Harrassment 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 '50s cut and another box set from the '90s.
I hear you're buying an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Adolescents record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Bang On A Can,
Derrick Morgan,
Scan 7,
The Monks,
Gian Franco Pienzio,
Harpers Bizarre,
Youth Brigade,
Hasil Adkins,
Eyeless In Gaza,
Minutemen,
Nico,
Soft Machine,
Notorious Big And Bone Thugs,
Deutsch Amerikanische Freundschaft,
Blancmange,
Inner City,
Wally Richardson,
Jawbox,
The West Coast Pop Art Experimental Band,
Bobby Sherman,
Joy Division,
Anthony Braxton,
Gang Starr,
Sällskapet,
Matthew Bourne,
The Modern Lovers,
Ludus,
In Retrospect,
Art Ensemble Of Chicago,
Neu!,
Talk Talk,
Underground Resistance,
Symarip,
Stetsasonic,
Fat Boys,
Maleditus Sound,
Fort Wilson Riot,
Soul II Soul,
Aloha Tigers,
Deakin,
The J.B.'s,
Scratch Acid,
Stiv Bators,
Can,
John Holt,
Spandau Ballet,
Country Teasers,
Be Bop Deluxe,
Junior Murvin,
Susan Cadogan,
Mars,
John Foxx,
Minor Threat,
Albert Ayler,
The Gun Club,
Clear Light,
New Order,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Faust,
Pere Ubu,
DNA,
Unrelated Segments, Unrelated Segments, Unrelated Segments, Unrelated Segments.
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.