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 Azerbaijan and from Cairo.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1974.
I'm losing my edge.
To all the kids in Glasgow and Madrid.
I'm losing my edge to the art-school Spokane 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 marimba 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 Funkadelic to the rock kids.
I played it at Cafe Wha.
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 The Last Poets. All the underground hits.
All The Real Kids tracks. I heard you have a vinyl of every Barbara Tucker record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Traffic Nightmare record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Enemy,
The Wake,
Kerrie Biddell,
Ronan,
Kool Moe Dee,
Ultimate Spinach,
X-102,
Organ,
Ohio Players,
Icehouse,
DeepChord presents Echospace,
The Birthday Party,
Red Lorry Yellow Lorry,
Lou Reed,
Ituana,
Brothers Johnson,
Terrestrial Tones,
Rhythm & Sound,
Kaleidoscope,
The Smiths,
Matthew Bourne,
Procol Harum,
Model 500,
Second Layer,
Jeru the Damaja,
Lou Reed & John Cale,
Girls At Our Best!,
L. Decosne,
Bootsy Collins,
Fela Kuti,
Agitation Free,
Flipper,
Scrapy,
Kevin Saunderson,
John Foxx,
Bad Manners,
The Young Rascals,
The Trojans,
Flash Fearless,
Schoolly D,
Ponytail,
Japan,
Fluxion,
Gastr Del Sol,
Sonic Youth,
Thee Headcoats,
Gang Gang Dance,
Maurizio,
Man Eating Sloth,
Kenny Larkin,
Godley & Creme,
Echo & the Bunnymen,
Lebanon Hanover,
Siouxsie and the Banshees,
Oblivians,
Quantec,
Amon Düül II,
Pole,
Urselle,
Erykah Badu,
Rhythim Is Rhythim,
Susan Cadogan,
Johnny Osbourne,
The Modern Lovers, The Modern Lovers, The Modern Lovers, The Modern Lovers.
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.