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 Bosnia Herzegovina and from Beijing.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Spokane and Delhi.
I'm losing my edge to the art-school Lagos 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Nick Cave & The Bad Seeds to the dance 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 Swell Maps. All the underground hits.
All Roxy Music tracks. I heard you have a vinyl of every Selector Dub Narcotic 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 '80s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Swans record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Outsiders,
Eurythmics,
Colin Newman,
The Peanut Butter Conspiracy,
Red Lorry Yellow Lorry,
the Slits,
Yaz,
Y Pants,
Aaron Thompson,
Drive Like Jehu,
Sound Behaviour,
James Chance & The Contortions,
Connie Case,
Second Layer,
Aswad,
The Last Poets,
The Birthday Party,
Avey Tare's Slasher Flicks,
Deutsch Amerikanische Freundschaft,
Bobby Sherman,
Can,
Kool G Rap & DJ Polo,
Sun City Girls,
Dead Boys,
Kaleidoscope,
The Fall,
Arthur Verocai,
Hardrive,
The Count Five,
The Kinks,
Amon Düül II,
kango's stein massive,
Carl Craig,
The Star Department,
the Soft Cell,
Isaac Hayes,
Gil Scott Heron,
Tomorrow,
Popol Vuh,
John Lydon,
The Misunderstood,
The Durutti Column,
Wolf Eyes,
Junior Murvin,
Cal Tjader,
Byron Stingily,
The Cure,
The Vogues,
Country Joe & The Fish,
Jeff Mills,
Gabor Szabo,
Gang Gang Dance,
Youth Brigade,
Khruangbin,
Eric B and Rakim,
Darondo,
Young Marble Giants,
the Human League,
Chris Corsano,
10cc,
Leonard Cohen,
Alice Coltrane,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.