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 Singapore and from Hong Kong.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1972.
I'm losing my edge.
To all the kids in Bremen and Johannesburg.
I'm losing my edge to the art-school Milan 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 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 Flamin' Groovies to the rap kids.
I played it at the Hacienda.
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 Tremeloes. All the underground hits.
All Sonic Youth tracks. I heard you have a vinyl of every Supertramp record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a UT record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Saccharine Trust,
Brand Nubian,
Bizarre Inc.,
Susan Cadogan,
Flipper,
Mr. Review,
Model 500,
June of 44,
Jesper Dahlback,
Pole,
John Foxx,
the Association,
Crispy Ambulance,
The Knickerbockers,
Iggy Pop,
the Normal,
The Evens,
The Mummies,
Cal Tjader,
Joe Smooth,
PIL,
A Certain Ratio,
The Barracudas,
Second Layer,
Clear Light,
Mantronix,
Cybotron,
Byron Stingily,
D'Angelo,
the Human League,
The Golliwogs,
Eric Copeland,
Visage,
Matthew Bourne,
Scratch Acid,
cv313,
The Saints,
Deakin,
Magma,
Tropical Tobacco,
Amazonics,
Rakim,
Neu!,
Al Stewart,
Piero Umiliani,
These Immortal Souls,
Ultravox,
Nas,
Kauko Röyhkä ja Narttu,
Stereo Dub,
Deutsch Amerikanische Freundschaft,
Black Bananas,
Drive Like Jehu,
The Beau Brummels,
The Move,
The Chocolate Watch Band,
Nico,
David Bowie,
Robert Görl,
Siglo XX,
Roxy Music,
Rekid,
The Smoke, The Smoke, The Smoke, The Smoke.
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.