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 Syria and from Lagos.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1975.
I'm losing my edge.
To all the kids in Houston and Lyon.
I'm losing my edge to the art-school Lille 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 oboe 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 Deadbeat to the rap kids.
I played it at the 40 Watt.
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 Silicon Teens. All the underground hits.
All Kerri Chandler tracks. I heard you have a vinyl of every Vaughan Mason & Crew 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 '60s cut and another box set from the '80s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Bill Wells record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultimate Spinach,
James White and The Blacks,
the Soft Cell,
Joey Negro,
Flash Fearless,
Curtis Mayfield,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Second Layer,
Vaughan Mason & Crew,
Steve Hackett,
Y Pants,
Joensuu 1685,
World's Most,
Lee Hazlewood,
Piero Umiliani,
Sandy B,
Japan,
Khruangbin,
The Walker Brothers,
Max Romeo,
Bobbi Humphrey,
Freddie Wadling,
Deepchord,
Spandau Ballet,
Scrapy,
Model 500,
Lalo Schifrin,
Zapp,
Magma,
Toni Rubio,
Sun Ra,
John Foxx,
Colin Newman,
Nico,
The Alarm Clocks,
Scott Walker + Sunn O))),
Cybotron,
The Golliwogs,
Banda Bassotti,
New Age Steppers,
Robert Wyatt,
The West Coast Pop Art Experimental Band,
Sun City Girls,
John Holt,
Drexciya,
Tubeway Army,
Grey Daturas,
Make Up,
Ornette Coleman,
Pantytec,
Roy Ayers Ubiquity,
Ronnie Foster,
The Doobie Brothers,
Roxette,
Marine Girls,
Drive Like Jehu,
Sight & Sound,
Neil Young,
Bootsy's Rubber Band,
DJ Sneak,
Cameo,
Scratch Acid, Scratch Acid, Scratch Acid, Scratch Acid.
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.