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 Greece and from London.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Mumbai and Tokyo.
I'm losing my edge to the art-school Stockholm 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 sitar sounds with much patience.
I was there when Donald Fagen 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 Public Image Ltd. to the grunge 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 Skarface. All the underground hits.
All Mars tracks. I heard you have a vinyl of every Thee Headcoats 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 sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a LL Cool J record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lower 48,
Babytalk,
Sam Rivers,
Max Romeo,
Marc Romboy vs. Booka Shade,
The Moleskins,
Ronnie Foster,
Crooked Eye,
U.S. Maple,
Alison Limerick,
Rekid,
Dual Sessions,
Lee Hazlewood,
The Litter,
Soft Cell,
Pierre Henry,
Tomorrow,
Delon & Dalcan,
Niagra,
48th St. Collective,
Rod Modell,
The Misunderstood,
Liaisons Dangereuses,
Bang On A Can,
Avey Tare's Slasher Flicks,
Bauhaus,
Blake Baxter,
Richard Hell and the Voidoids,
Andrew Ashong & Theo Parrish,
Brand Nubian,
Moebius,
Sandy B,
Lou Christie,
Roger Hodgson,
Roy Ayers Ubiquity,
Pharaoh Sanders and the Fire Engines,
8 Eyed Spy,
The Toasters,
The Smoke,
Youth Brigade,
Lou Reed & John Cale,
Dorothy Ashby,
The United States of America,
The Zeros,
The Velvet Underground,
Matthew Bourne,
Clear Light,
The Evens,
Prince Buster,
Camberwell Now,
Marmalade,
It's A Beautiful Day,
Absolute Body Control,
Be Bop Deluxe,
Bootsy's Rubber Band,
OOIOO,
Khruangbin,
Harry Pussy,
Bobby Sherman,
Public Image Ltd.,
Godley & Creme,
Sparks,
Slave,
Tim Buckley,
Lungfish, Lungfish, Lungfish, Lungfish.
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.