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 Jamaica 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 1967 to 1970.
I'm losing my edge.
To all the kids in Toronto and Woodstock.
I'm losing my edge to the art-school Lyon 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the snare sounds with much patience.
I was there when Lou Reed 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 Suicide to the disco 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 Judy Mowatt. All the underground hits.
All In Retrospect tracks. I heard you have a vinyl of every Sandy B record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Soul Sonic Force record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Lyres,
John Foxx,
Newcleus,
Sarah Menescal,
Mars,
Charles Mingus,
Danielle Patucci,
Avey Tare & Kría Brekkan,
Tom Boy,
A Certain Ratio,
Stetsasonic,
Louis and Bebe Barron,
8 Eyed Spy,
The Zeros,
Funky Four + One,
Wire,
Khruangbin,
Vladislav Delay,
The West Coast Pop Art Experimental Band,
Flipper,
Cabaret Voltaire,
Outsiders,
Amon Düül II,
Jerry Gold Smith,
Slick Rick,
Tim Buckley,
Underground Resistance,
10cc,
Average White Band,
Matthew Halsall,
The Fugs,
Theoretical Girls,
Don Cherry,
The Detroit Cobras,
Echospace,
Andrew Hill,
Malaria!,
Electric Light Orchestra,
The Motions,
The Names,
Bobby Byrd,
Section 25,
The Peanut Butter Conspiracy,
The Monks,
Ronnie Foster,
Talk Talk,
The Martian,
Pharaoh Sanders and the Fire Engines,
Erykah Badu,
Eyeless In Gaza,
The Durutti Column,
Barclay James Harvest,
Monks,
Delta 5,
Bauhaus,
June Days,
Art Ensemble Of Chicago,
Nation of Ulysses,
Kerrie Biddell,
The Beau Brummels,
Funkadelic, Funkadelic, Funkadelic, Funkadelic.
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.