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 Dominica and from Delhi.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Portland and Milan.
I'm losing my edge to the art-school London 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Flash Fearless to the rock 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 Rhythm & Sound. All the underground hits.
All Eden Ahbez tracks. I heard you have a vinyl of every The Real Kids record on German import.
I heard that you have a white label of every seminal rock 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 spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Cymande record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blossom Toes,
Dual Sessions,
The Names,
Yusef Lateef,
Faraquet,
Harpers Bizarre,
X-101,
Section 25,
Marshall Jefferson,
The Fuzztones,
Bobby Womack,
Slave,
Marc Almond,
Joensuu 1685,
Spoonie Gee,
Henry Cow,
New York Dolls,
Blancmange,
Reagan Youth,
Jeff Mills,
a-ha,
Fad Gadget,
Sex Pistols,
Kurtis Blow,
Curtis Mayfield,
Wally Richardson,
The Standells,
Eve St. Jones,
The Walker Brothers,
UT,
Steve Hackett,
It's A Beautiful Day,
Siouxsie and the Banshees,
Gian Franco Pienzio,
John Lydon,
The Gap Band,
A Certain Ratio,
E-Dancer,
Vaughan Mason & Crew,
The Detroit Cobras,
Eric Dolphy,
Big Daddy Kane,
Spandau Ballet,
Byron Stingily,
Thee Headcoats,
Idris Muhammad,
La Düsseldorf,
Yazoo,
Loose Ends,
The Seeds,
Aswad,
Kevin Saunderson,
Stetsasonic,
Can,
Neil Young & Crazy Horse,
The Doobie Brothers,
Matthew Halsall,
Television,
A Flock of Seagulls,
Nirvana,
Animal Collective,
World's Most,
Camouflage, Camouflage, Camouflage, Camouflage.
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.