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 Nauru and from Shanghai.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Toronto.
I'm losing my edge to the art-school Paris 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 1965 at the first Beefheart practice in a loft in Lancaster.
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 Chris & Cosey to the rock kids.
I played it at the Troubador.
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 Radiohead. All the underground hits.
All Bluetip tracks. I heard you have a vinyl of every Ossler record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Camberwell Now record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joyce Sims,
Mantronix,
Gil Scott Heron,
Ohio Players,
Buzzcocks,
Can,
The Offenders,
OOIOO,
The Velvet Underground,
Tears for Fears,
Shoche,
The Zeros,
Archie Shepp,
Electric Light Orchestra,
Swell Maps,
The Count Five,
Davy DMX,
John Foxx,
Cecil Taylor,
The Mojo Men,
Jeff Lynne,
Fela Kuti,
Slave,
UT,
Aural Exciters,
Nation of Ulysses,
Robert Hood,
The Stooges,
Ossler,
Siouxsie and the Banshees,
Albert Ayler,
Animal Collective,
Gil Scott-Heron & Brian Jackson,
Dennis Brown,
Black Pus,
Lakeside,
Sparks,
Yellowson,
Organ,
Lou Reed,
The Cowsills,
Quantec,
Royal Trux,
John Holt,
Groovy Waters,
The Neon Judgement,
Index,
Cluster,
Wolf Eyes,
Justin Hinds & The Dominoes,
Suicide,
Arthur Verocai,
Echo & the Bunnymen,
Nirvana,
Kerrie Biddell,
Television,
Danielle Patucci,
Röyhkä ja Rättö ja Lehtisalo,
Bootsy Collins,
Niagra,
Jacques Brel,
The Buckinghams,
Cameo, Cameo, Cameo, Cameo.
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.