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 Thailand and from Glasgow.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Manila and Jakarta.
I'm losing my edge to the art-school Toronto 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 spring reverb 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 The Monks to the dance kids.
I played it at the Astoria.
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 Deakin. All the underground hits.
All The Fortunes tracks. I heard you have a vinyl of every Essential Logic 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 '50s cut and another box set from the '80s.
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 Sly & The Family Stone record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Carl Craig,
The Barracudas,
Terry Callier,
Fluxion,
DJ Sneak,
Sarah Menescal,
Throbbing Gristle,
James White and The Blacks,
AZ,
Slick Rick,
Buzzcocks,
Barry Ungar,
DJ Style,
Barbara Tucker,
Kango’s Stein Massive,
Robert Wyatt,
Eric Copeland,
A Flock of Seagulls,
Lou Reed & Metallica,
Deutsch Amerikanische Freundschaft,
Scott Walker,
The Star Department,
Simply Red,
Eric Dolphy,
Ohio Players,
The Standells,
The Techniques,
Junior Murvin,
the Fania All-Stars,
Drexciya,
Royal Trux,
Matthew Bourne,
Donald Byrd,
The Move,
Albert Ayler,
Subhumans,
Rotary Connection,
Jeff Mills,
Country Joe & The Fish,
Eve St. Jones,
Wasted Youth,
Parry Music,
EPMD,
Rowland S Howard / Lydia Lunch,
Alison Limerick,
Ralphi Rosario,
Quantec,
Motorama,
The Cramps,
Model 500,
Bill Wells,
Zapp,
Technova,
Brass Construction,
Joey Negro,
Slave,
The Kinks,
Harmonia,
Red Lorry Yellow Lorry,
Janne Schatter,
The Cosmic Jokers,
Yellowson,
Kaleidoscope,
cv313, cv313, cv313, cv313.
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.