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 Estonia and from Toronto.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Portland and Shanghai.
I'm losing my edge to the art-school Madrid 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 arpeggiator 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 Circle Jerks to the disco 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 DNA. All the underground hits.
All Bill Near tracks. I heard you have a vinyl of every Unrelated Segments record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Minny Pops record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The American Breed,
Curtis Mayfield,
Crash Course in Science,
Major Organ And The Adding Machine,
Angels of Light & Akron/Family,
Kaleidoscope,
The Move,
Bronski Beat,
Whodini,
Model 500,
Visionaries,LMNO, T- Love & Iriscience,
The Flesh Eaters,
Fifty Foot Hose,
Lou Reed,
Echo & the Bunnymen,
Ludus,
The Angels of Light,
Reagan Youth,
H. Thieme,
Amazonics,
Tommy Roe,
Rekid,
The Star Department,
The Knickerbockers,
Oppenheimer Analysis,
Desert Stars,
The Divine Comedy,
Girls At Our Best!,
Cal Tjader,
The Leaves,
The Fire Engines,
The Music Machine,
The Moody Blues,
The Grass Roots,
Technova,
Metal Thangz,
Index,
Roy Ayers Ubiquity,
Pussy Galore,
Lou Reed & Metallica,
UT,
Fugazi,
The Selecter,
Faraquet,
New Order,
K-Klass,
The Cowsills,
A Certain Ratio,
Audionom,
The Cure,
Liaisons Dangereuses,
Notorious Big And Bone Thugs,
London Community Gospel Choir,
Masters at Work,
Lebanon Hanover,
Television Personalities,
Stereo Dub,
The Names,
The Gories,
The Standells, The Standells, The Standells, The Standells.
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.