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 Samoa and from Mexico City.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Columbus and Philadelphia.
I'm losing my edge to the art-school Sao Paulo 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 snare sounds with much patience.
I was there when Lou Reed 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 Country Teasers to the disco kids.
I played it at the Spitz.
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 Flipper. All the underground hits.
All Adolescents tracks. I heard you have a vinyl of every Marc Almond record on German import.
I heard that you have a white label of every seminal funk 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 guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Slackers record.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear that you and your band have sold your linndrum 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?
The Alarm Clocks,
Teenage Jesus and the Jerks,
Lou Reed & Metallica,
Agent Orange,
Vaughan Mason & Crew,
Rhythim Is Rhythim,
Lebanon Hanover,
Lower 48,
The Black Dice,
Gil Scott-Heron and Jamie xx,
Siglo XX,
Marcia Griffiths,
The Pretty Things,
Mad Mike,
the Fania All-Stars,
The Grass Roots,
Flash Fearless,
Aaron Thompson,
Judy Mowatt,
X-102,
The Walker Brothers,
Joensuu 1685,
Surgeon,
Gabor Szabo,
The Associates,
ABBA,
Camron Feat. Memphis Bleek And Beenie Seigel,
Morten Harket,
Lightning Bolt,
Ohio Players,
Bobby Sherman,
Sällskapet,
Livin' Joy,
Joy Division,
Grandmaster Flash,
Mandrill,
Drexciya,
Altered Images,
Anthony Braxton,
This Heat,
Sexual Harrassment,
Henry Cow,
Andrew Ashong & Theo Parrish,
Negative Approach,
Masters at Work,
Model 500,
Vladislav Delay,
Stetsasonic,
Sight & Sound,
Bang on a Can All-Stars,
Peter & Gordon,
Rekid,
Erykah Badu,
Lyres,
DJ Sneak,
Marmalade,
Dave Gahan,
Zapp,
Whodini,
Black Flag,
Marc Almond,
Interpol,
X-Ray Spex,
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.