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 Romania and from Salvador.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Bologna and Spokane.
I'm losing my edge to the art-school Sao Paulo 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 chamberlin 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 The Count Five to the jazz 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 Richard Hell and the Voidoids. All the underground hits.
All A Flock of Seagulls tracks. I heard you have a vinyl of every Jeff Lynne 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 '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Camberwell Now record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Misunderstood,
Qualms,
These Immortal Souls,
Stiv Bators,
Slick Rick,
Crash Course in Science,
Liaisons Dangereuses,
The Alarm Clocks,
Davy DMX,
The Move,
Lafayette Afro Rock Band,
Public Image Ltd.,
Art Ensemble Of Chicago,
Gang Gang Dance,
Sällskapet,
Ash Ra Tempel,
Vaughan Mason & Crew,
Frankie Knuckles,
Radiopuhelimet,
Kango’s Stein Massive,
Rosa Yemen,
F. McDonald,
Agent Orange,
Bobby Hutcherson,
Lou Reed & Metallica,
In Retrospect,
Public Enemy,
10cc,
Popol Vuh,
Anakelly,
Aural Exciters,
Throbbing Gristle,
A Flock of Seagulls,
Magazine,
Sarah Menescal,
The Litter,
kango's stein massive,
Warsaw,
EPMD,
Al Stewart,
Scratch Acid,
Amon Düül,
The Tremeloes,
Teenage Jesus and the Jerks,
Gerry Rafferty,
Tim Buckley,
Boz Scaggs,
Unwound,
The Five Americans,
Scion,
Joe Smooth,
the Slits,
Peter Gordon & Love of Life Orchestra,
Rites of Spring,
The Fortunes,
The Fall,
Gian Franco Pienzio,
Sun City Girls,
Soft Machine,
Scrapy,
John Foxx,
Eve St. Jones,
The Mojo Men, The Mojo Men, The Mojo Men, The Mojo Men.
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.