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 Dominican Republic and from Calgary.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Manchester and Portland.
I'm losing my edge to the art-school Mexico City 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the mellotron sounds with much patience.
I was there when Tom Verlaine 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 Sarah Menescal to the electroclash kids.
I played it at the Crocodile.
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 Gian Franco Pienzio. All the underground hits.
All Swans tracks. I heard you have a vinyl of every Soft Cell record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Susan Cadogan record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 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?
Dual Sessions,
Delon & Dalcan,
The Barracudas,
X-102,
Isaac Hayes,
Major Organ And The Adding Machine,
Yellowson,
Glenn Branca,
The Cure,
Dawn Penn,
Bobby Hutcherson,
Grandmaster Flash and the Furious Five,
Albert Ayler,
London Community Gospel Choir,
Mary Jane Girls,
the Swans,
Bootsy's Rubber Band,
Jacques Brel,
Arab on Radar,
H. Thieme,
Kango’s Stein Massive,
Röyhkä ja Rättö ja Lehtisalo,
Sound Behaviour,
Yazoo,
Lafayette Afro Rock Band,
Stiv Bators,
Sun Ra Arkestra,
Rosa Yemen,
Crispian St. Peters,
The Monochrome Set,
Swans,
Derrick May,
The Slackers,
Marshall Jefferson,
Excepter,
Wire,
Minny Pops,
Vaughan Mason & Crew,
Motorama,
Super Lover Cee & Casanova Rud,
Mark Hollis,
Rod Modell,
The Black Dice,
Ultravox,
Lightning Bolt,
The Smoke,
Kas Product,
Mission of Burma,
One Last Wish,
Angry Samoans,
The Walker Brothers,
The United States of America,
Rowland S Howard / Lydia Lunch,
The Birthday Party,
Eyeless In Gaza,
Quadrant,
Steve Hackett,
Pantytec,
Pulsallama,
PIL,
Negative Approach,
F. McDonald,
Reuben Wilson, Reuben Wilson, Reuben Wilson, Reuben Wilson.
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.