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 Sweden and from Tokyo.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Woodstock.
I'm losing my edge to the art-school Copenhagen 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 cv313 to the jazz 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 Gil Scott-Heron and Jamie xx. All the underground hits.
All Joy Division tracks. I heard you have a vinyl of every Mandrill record on German import.
I heard that you have a white label of every seminal techno 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 rhodes and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba 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?
Mo-Dettes,
Adolescents,
James White and The Blacks,
Visage,
Steve Hackett,
Bootsy Collins,
Nico,
KRS-One,
Main Source,
Andrew Ashong & Theo Parrish,
Index,
Eric B and Rakim,
Brass Construction,
Subhumans,
Avey Tare's Slasher Flicks,
The Fire Engines,
Monks,
Marc Almond,
10cc,
Television Personalities,
Blossom Toes,
Ituana,
Eli Mardock,
Model 500,
Gil Scott Heron,
Kas Product,
Jesper Dahlbäck,
Max Romeo,
Nas,
Maurizio,
New York Dolls,
Joe Finger,
Captain Beefheart & His Magic Band,
Harpers Bizarre,
Marvin Gaye,
Intrusion,
the Sonics,
the Fania All-Stars,
The Victims,
Graham Central Station,
OOIOO,
Faraquet,
Barbara Tucker,
The Dirtbombs,
Boredoms,
B.T. Express,
the Normal,
Magazine,
Grandmaster Flash,
CMW,
Babytalk,
Leonard Cohen,
Lyres,
The Toasters,
The Dead C,
Rhythm & Sound,
Panda Bear,
The Residents,
Stetsasonic,
Lou Reed & John Cale,
Bob Dylan,
Pussy Galore,
Suicide,
AZ, AZ, AZ, AZ.
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.