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 Vanuatu and from Stockholm.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1970.
I'm losing my edge.
To all the kids in Lagos and Sao Paulo.
I'm losing my edge to the art-school Hong Kong 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 linndrum sounds with much patience.
I was there when Nile Rodgers 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 Interpol to the electroclash kids.
I played it at the Roxy.
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 Japan. All the underground hits.
All Piero Umiliani tracks. I heard you have a vinyl of every A Certain Ratio record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Freddie Wadling record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kevin Saunderson,
Dead Boys,
Roy Ayers Ubiquity,
Adolescents,
Yellowson,
Jesper Dahlback,
Aaron Thompson,
Shuggie Otis,
The Count Five,
Selector Dub Narcotic,
Cabaret Voltaire,
T.S.O.L.,
Ken Boothe,
Letta Mbulu,
Rowland S Howard / Lydia Lunch,
Ponytail,
Orchestral Manoeuvres in the Dark,
The Mighty Diamonds,
Unrelated Segments,
Outsiders,
Surgeon,
Smog,
Lizzy Mercier Descloux,
Faust,
Loose Ends,
The Chocolate Watch Band,
Danielle Patucci,
Wolf Eyes,
Kaleidoscope,
Captain Beefheart & His Magic Band,
The Remains,
Freddie Wadling,
Motorama,
Neil Young,
Camron Feat. Jay Z And Juelz,
Lightning Bolt,
Minutemen,
Fat Boys,
Bauhaus,
Faraquet,
Severed Heads,
F. McDonald,
Toni Rubio,
Ash Ra Tempel,
Josef K,
Electric Light Orchestra,
Ultravox,
Boogie Down Productions,
Con Funk Shun,
The Neon Judgement,
The Happenings,
Minor Threat,
Animal Collective,
Thee Headcoats,
John Holt,
EPMD,
Pylon,
Andrew Ashong & Theo Parrish,
Deakin,
The Smiths,
Jacob Miller, Jacob Miller, Jacob Miller, Jacob Miller.
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.