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 Oman and from Houston.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Philadelphia and Paris.
I'm losing my edge to the art-school Mexico City 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 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 Groovy Waters to the funk 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 Names. All the underground hits.
All Connie Case tracks. I heard you have a vinyl of every The Tremeloes record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Flesh Eaters record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Carl Craig,
Newcleus,
Danielle Patucci,
The Modern Lovers,
Silicon Teens,
Accadde A,
Vainqueur,
Joyce Sims,
Frankie Knuckles,
Ajijia Myrayebe,
Radiohead,
Pere Ubu,
The Seeds,
UT,
Joe Smooth,
Spoonie Gee,
Mad Mike,
John Foxx,
Aswad,
Supertramp,
Kevin Saunderson,
Aural Exciters,
Khruangbin,
Sugar Minott,
ABC,
Moss Icon,
The Dead C,
The Alarm Clocks,
Monolake,
Mr. Review,
Matthew Bourne,
The Monochrome Set,
Terry Callier,
48th St. Collective,
Thee Headcoats,
Deadbeat,
The Cure,
Beasts of Bourbon,
James Chance & The Contortions,
It's A Beautiful Day,
Sam Rivers,
The Shadows of Knight,
Jerry Gold Smith,
Hasil Adkins,
Warren Ellis,
The Knickerbockers,
Mandrill,
The Gladiators,
Lungfish,
Motorama,
Graham Central Station,
Young Marble Giants,
Lebanon Hanover,
Masters at Work,
Teenage Jesus and the Jerks,
The Busters,
Gil Scott Heron,
Trumans Water,
Heavy D & The Boyz,
The Residents,
Soul II Soul,
Pussy Galore,
Notorious BIG live in Amsterdam,
Albert Ayler, Albert Ayler, Albert Ayler, Albert Ayler.
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.