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 Djibouti and from Glasgow.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Bologna and Bologna.
I'm losing my edge to the art-school Hong Kong 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 rhodes sounds with much patience.
I was there when Michael McDonald 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 Wolf Eyes to the disco kids.
I played it at the Crocodile.
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 Mandrill. All the underground hits.
All Terrestrial Tones tracks. I heard you have a vinyl of every The Mummies 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 '60s cut and another box set from the '90s.
I hear you're buying a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a John Holt record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sound Behaviour,
Skriet,
Flamin' Groovies,
New Age Steppers,
Deadbeat,
Barry Ungar,
T. Rex,
Funkadelic,
Bill Near,
The Fortunes,
Rod Modell,
Interpol,
Sexual Harrassment,
Parry Music,
Sandy B,
Wally Richardson,
The Sound,
Rahsaan Roland Kirk,
Ash Ra Tempel,
Groovy Waters,
Terrestrial Tones,
Rakim,
Prince Buster,
Index,
the Germs,
Siglo XX,
The Litter,
Nico,
Lower 48,
John Cale,
Angels of Light & Akron/Family,
Qualms,
Quantec,
Soulsonic Force,
Radiopuhelimet,
Crispy Ambulance,
Mary Jane Girls,
Sonic Youth,
Rhythim Is Rhythim,
Traffic Nightmare,
8 Eyed Spy,
Susan Cadogan,
Henry Cow,
Pharaoh Sanders and the Fire Engines,
Reagan Youth,
Lungfish,
Grandmaster Flash and the Furious Five,
Neu!,
Kool Moe Dee,
Pantytec,
Donald Byrd,
Half Japanese,
DNA,
The Fugs,
Youth Brigade,
Pet Shop Boys,
Graham Central Station,
Funky Four + One,
Agent Orange,
Eric Dolphy, Eric Dolphy, Eric Dolphy, Eric Dolphy.
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.