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 Dominica and from Philadelphia.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Manchester and Lagos.
I'm losing my edge to the art-school Seoul 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 Captain Beefheart 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 Index to the electroclash kids.
I played it at the Astoria.
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 Rosa Yemen. All the underground hits.
All Deutsch Amerikanische Freundschaft tracks. I heard you have a vinyl of every Drive Like Jehu 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 '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Offenders record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siglo XX,
Reagan Youth,
Ossler,
Smog,
Pharaoh Sanders and the Fire Engines,
The Residents,
Terry Callier,
The Zeros,
Fat Boys,
Shoche,
Second Layer,
Laurel Aitken,
Soul Sonic Force,
The Flesh Eaters,
F. McDonald,
Can,
Justin Hinds & The Dominoes,
Robert Hood,
Mo-Dettes,
Brand Nubian,
The Cure,
The Evens,
It's A Beautiful Day,
Lakeside,
Richard Hell and the Voidoids,
Ronnie Foster,
Gil Scott-Heron & Brian Jackson,
Gian Franco Pienzio,
Mr. Review,
New York Dolls,
Rod Modell,
Faraquet,
Jesper Dahlbäck,
Janne Schatter,
Simply Red,
The Sisters of Mercy,
K-Klass,
Ornette Coleman,
Visage,
The Gories,
Gang Gang Dance,
Clear Light,
Television Personalities,
Schoolly D,
the Fania All-Stars,
OOIOO,
James Chance & The Contortions,
Cabaret Voltaire,
Oblivians,
Letta Mbulu,
New Age Steppers,
Art Ensemble Of Chicago,
Henry Cow,
The Martian,
Isaac Hayes,
Sight & Sound,
Hoover,
Minnie Riperton,
The Misunderstood,
Stockholm Monsters,
Dorothy Ashby,
Parry Music,
Drive Like Jehu, Drive Like Jehu, Drive Like Jehu, Drive Like Jehu.
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.