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 Syria and from Tokyo.
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 1972.
I'm losing my edge.
To all the kids in Madrid and Hong Kong.
I'm losing my edge to the art-school Accra 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the mellotron sounds with much patience.
I was there when Nile Rodgers 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 Rapeman 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 Swell Maps. All the underground hits.
All Dual Sessions tracks. I heard you have a vinyl of every The Birthday Party 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 '70s cut and another box set from the '70s.
I hear you're buying a rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Faraquet record.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
Strawberry Alarm Clock,
Johnny Clarke,
Negative Approach,
It's A Beautiful Day,
The Shadows of Knight,
Stetsasonic,
Vaughan Mason & Crew,
Isaac Hayes,
Aural Exciters,
Heaven 17,
Bush Tetras,
Boredoms,
Royal Trux,
Fad Gadget,
Underground Resistance,
Andrew Ashong & Theo Parrish,
The Gun Club,
Jerry Gold Smith,
Sexual Harrassment,
Jerry's Kids,
Tears for Fears,
Alton Ellis,
Bobby Byrd,
Major Organ And The Adding Machine,
The Smiths,
Bauhaus,
H. Thieme,
Fifty Foot Hose,
Goldenarms,
Sad Lovers and Giants,
Camouflage,
Grandmaster Flash and the Furious Five,
Mad Mike,
Radiopuhelimet,
The Electric Prunes,
Japan,
Section 25,
Soul Sonic Force,
The Cramps,
June Days,
Neu!,
Girls At Our Best!,
Cameo,
Grey Daturas,
The Alarm Clocks,
Mission of Burma,
Sight & Sound,
The Detroit Cobras,
OOIOO,
Sonic Youth,
Pierre Henry,
John Lydon,
Pylon,
Boogie Down Productions,
MDC,
Chris Corsano,
The Martian,
X-102,
EPMD,
Eyeless In Gaza,
Avey Tare,
Danielle Patucci, Danielle Patucci, Danielle Patucci, Danielle Patucci.
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.