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 Latvia and from Spokane.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Delhi and Tehran.
I'm losing my edge to the art-school Bremen 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the theremin 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 The Music Machine to the funk kids.
I played it at the Spitz.
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 Jeff Lynne. All the underground hits.
All Bob Dylan tracks. I heard you have a vinyl of every Porter Ricks 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 '60s cut and another box set from the '70s.
I hear you're buying a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Dead C record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amazonics,
Rowland S Howard / Lydia Lunch,
Harpers Bizarre,
Nick Fraelich,
R.M.O.,
Camron Feat. Memphis Bleek And Beenie Seigel,
Kool Moe Dee,
Bad Manners,
Gerry Rafferty,
Sight & Sound,
Captain Beefheart & His Magic Band,
Cecil Taylor,
Skarface,
The Chocolate Watch Band,
Little Man,
Alison Limerick,
Nick Cave & The Bad Seeds,
Eric B and Rakim,
Robert Görl,
Eurythmics,
Joy Division,
Sarah Menescal,
The Leaves,
Bang on a Can All-Stars,
Fluxion,
The Electric Prunes,
the Soft Cell,
Ronnie Foster,
Peter Gordon & Love of Life Orchestra,
World's Most,
Gang Green,
Cheater Slicks,
Average White Band,
The Mummies,
The Busters,
Goldenarms,
Blancmange,
The Gap Band,
Scratch Acid,
Fatback Band,
Howard Jones,
Barbara Tucker,
Scrapy,
Danielle Patucci,
Monolake,
The Gun Club,
Crispy Ambulance,
The Vogues,
Stockholm Monsters,
Jeru the Damaja,
U.S. Maple,
Joe Smooth,
Bang On A Can,
This Heat,
Boz Scaggs,
The Offenders,
The West Coast Pop Art Experimental Band,
8 Eyed Spy,
Pet Shop Boys,
The Last Poets,
Joe Finger,
the Normal, the Normal, the Normal, the Normal.
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.