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 Uzbekistan and from Halifax.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1973.
I'm losing my edge.
To all the kids in Portland and Hong Kong.
I'm losing my edge to the art-school Edmonton 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 güiro 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 Kayak to the techno kids.
I played it at the Hacienda.
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 Sandy B. All the underground hits.
All Ken Boothe tracks. I heard you have a vinyl of every Fugazi 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 '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Joey Negro record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crime,
Judy Mowatt,
D'Angelo,
Drive Like Jehu,
Crispian St. Peters,
This Heat,
The Grass Roots,
Lindisfarne,
Dawn Penn,
Fifty Foot Hose,
Red Lorry Yellow Lorry,
Lower 48,
the Association,
The New Christs,
Robert Wyatt,
Ultramagnetic MC's,
The Peanut Butter Conspiracy,
John Foxx,
Rites of Spring,
Johnny Osbourne,
The Jesus and Mary Chain,
Donald Byrd,
Arthur Verocai,
The Gories,
John Lydon,
Barrington Levy,
In Retrospect,
Mary Jane Girls,
Model 500,
The Gladiators,
Reagan Youth,
Camberwell Now,
Swans,
Sad Lovers and Giants,
Marshall Jefferson,
KRS-One,
Nils Olav,
H. Thieme,
Sam Rivers,
Adolescents,
Gong,
Procol Harum,
Average White Band,
Whodini,
F. McDonald,
Hardrive,
Quando Quango,
Lalann,
Traffic Nightmare,
Negative Approach,
Curtis Mayfield,
Gabor Szabo,
Aural Exciters,
Derrick Morgan,
Bang on a Can All-Stars,
Alice Coltrane,
Steve Hackett,
Arcadia,
Sarah Menescal,
Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe.
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.