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 Belgium and from Manila.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Halifax and Spokane.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the organ 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 Durutti Column to the grime 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 The Chocolate Watch Band. All the underground hits.
All Lee Hazlewood tracks. I heard you have a vinyl of every Radiopuhelimet 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 a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Dual Sessions record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious BIG live in Amsterdam,
Eve St. Jones,
T. Rex,
Terrestrial Tones,
La Düsseldorf,
Bad Manners,
Depeche Mode,
the Human League,
Albert Ayler,
Section 25,
Marmalade,
The Invisible,
Organ,
Alton Ellis,
Audionom,
Mission of Burma,
Brass Construction,
Grandmaster Flash and the Furious Five,
Althea and Donna,
Laurel Aitken,
Radiopuhelimet,
Slick Rick,
Vaughan Mason & Crew,
Bang on a Can All-Stars,
The Monochrome Set,
Bobbi Humphrey,
Gil Scott-Heron and Jamie xx,
Lou Christie,
Chris Corsano,
Charles Mingus,
Public Image Ltd.,
John Holt,
The Cowsills,
New Age Steppers,
The Cosmic Jokers,
Can,
JFA,
Marine Girls,
Todd Terry,
Man Parrish,
Dennis Brown,
The Doobie Brothers,
Bronski Beat,
Vladislav Delay,
Sun City Girls,
Little Man,
Pierre Henry,
The Fire Engines,
Lower 48,
The Human League,
The Count Five,
Maleditus Sound,
Brothers Johnson,
Tears for Fears,
Lindisfarne,
The Tremeloes,
Bootsy Collins,
Excepter,
The Modern Lovers,
Minutemen, Minutemen, Minutemen, Minutemen.
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.