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 Armenia and from Sao Paulo.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1970.
I'm losing my edge.
To all the kids in Salvador and Glasgow.
I'm losing my edge to the art-school Madrid 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 Captain Beefheart 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 Joe Smooth to the punk 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 Bill Near. All the underground hits.
All Eli Mardock tracks. I heard you have a vinyl of every Robert Wyatt record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Deepchord record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moleskins,
Johnny Clarke,
Gastr Del Sol,
Eyeless In Gaza,
The Gladiators,
Albert Ayler,
World's Most,
The Durutti Column,
The Remains,
Jacques Brel,
Terrestrial Tones,
Joe Finger,
L. Decosne,
Althea and Donna,
Avey Tare & Kría Brekkan,
The Vogues,
Robert Görl,
Mandrill,
Robert Wyatt,
Sad Lovers and Giants,
Godley & Creme,
The Grass Roots,
The Beau Brummels,
Jerry's Kids,
Donald Byrd,
The Slackers,
Gang Green,
FM Einheit,
Cluster,
The Victims,
Visionaries,LMNO, T- Love & Iriscience,
Q65,
Technova,
Scientists,
Angels of Light & Akron/Family,
Niagra,
Carl Craig,
Japan,
Joyce Sims,
D'Angelo,
The Doors,
Louis and Bebe Barron,
Marine Girls,
A Flock of Seagulls,
Black Pus,
Brick,
The West Coast Pop Art Experimental Band,
The Cosmic Jokers,
Grandmaster Flash and the Furious Five,
Pet Shop Boys,
Judy Mowatt,
Los Fastidios,
Theoretical Girls,
The Angels of Light,
The Names,
De La Soul & Jungle Brothers,
Kool G Rap & DJ Polo,
Lee Hazlewood,
Scrapy,
Brass Construction,
The Sound,
Fugazi,
Sexual Harrassment, Sexual Harrassment, Sexual Harrassment, Sexual Harrassment.
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.