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 Gambia and from Portland.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Shanghai and Paris.
I'm losing my edge to the art-school Houston 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the synthesizer sounds with much patience.
I was there when David Bowie 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 Man Eating Sloth to the dance 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 Supertramp. All the underground hits.
All Cal Tjader tracks. I heard you have a vinyl of every John Foxx record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Eyeless In Gaza record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Junior Murvin,
Zero Boys,
The Birthday Party,
Infiniti,
Sugar Minott,
The Gun Club,
Adolescents,
Visage,
Art Ensemble Of Chicago,
Eurythmics,
The Beau Brummels,
Kerrie Biddell,
Stereo Dub,
Motorama,
The Men They Couldn't Hang,
Country Joe & The Fish,
Oblivians,
These Immortal Souls,
DNA,
Lou Reed & John Cale,
Bluetip,
Flash Fearless,
Ituana,
Y Pants,
Vainqueur,
JFA,
New Order,
Crispy Ambulance,
The Mummies,
the Human League,
The Jesus and Mary Chain,
X-101,
New York Dolls,
Roxy Music,
Pulsallama,
Rapeman,
Parry Music,
Fat Boys,
The Flesh Eaters,
Rhythim Is Rhythim,
Piero Umiliani,
Panda Bear,
H. Thieme,
Röyhkä ja Rättö ja Lehtisalo,
Lou Reed,
John Lydon,
Bad Manners,
Aloha Tigers,
Basic Channel,
Thompson Twins,
Joensuu 1685,
Quantec,
Glenn Branca,
The Standells,
The Leaves,
The Cure,
Barclay James Harvest,
Matthew Halsall,
Black Sheep,
Dual Sessions,
Yazoo,
Bobby Sherman,
Darondo, Darondo, Darondo, Darondo.
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.