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 Afghanistan and from Paris.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Halifax and Houston.
I'm losing my edge to the art-school Beijing 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 clarinet 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 The United States of America to the dance kids.
I played it at the Roxy.
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 Germs. All the underground hits.
All Ten City tracks. I heard you have a vinyl of every Nick Cave & The Bad Seeds record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your theremin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gichy Dan,
Swell Maps,
Robert Hood,
Buzzcocks,
Masters at Work,
Aswad,
The Searchers,
New York Dolls,
Rhythm & Sound,
Moebius,
Tomorrow,
The Gun Club,
Jeff Lynne,
Graham Central Station,
Soft Cell,
Fifty Foot Hose,
The Fuzztones,
Joensuu 1685,
Stetsasonic,
Cymande,
Lower 48,
Sixth Finger,
Amon Düül,
Wighnomy Brothers & Robag Wruhme,
The Beau Brummels,
Selector Dub Narcotic,
Grandmaster Flash,
Adolescents,
The Fortunes,
Liliput,
Howard Jones,
the Normal,
Flamin' Groovies,
Barry Ungar,
Altered Images,
Johnny Clarke,
Big Daddy Kane,
the Association,
Boogie Down Productions,
Aural Exciters,
Sad Lovers and Giants,
Sight & Sound,
The Divine Comedy,
Liaisons Dangereuses,
Dead Boys,
Absolute Body Control,
The Cowsills,
Faust,
Fear,
Colin Newman,
Roy Ayers,
The Red Krayola,
Cal Tjader,
The Tremeloes,
Excepter,
One Last Wish,
Yusef Lateef,
Nils Olav,
Deepchord,
Von Mondo,
Ohio Players,
Eli Mardock,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.