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 Vietnam and from Winnipeg.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1968 to 1972.
I'm losing my edge.
To all the kids in Houston and Tokyo.
I'm losing my edge to the art-school Manila 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 808 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 Howard Jones to the dance kids.
I played it at the Crocodile.
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 Vainqueur. All the underground hits.
All Black Bananas tracks. I heard you have a vinyl of every Notorious BIG live in Amsterdam record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
Pussy Galore,
New York Dolls,
The Knickerbockers,
The Seeds,
Anthony Braxton,
Althea and Donna,
Reuben Wilson,
Girls At Our Best!,
Gian Franco Pienzio,
Liaisons Dangereuses,
Janne Schatter,
The Motions,
Vaughan Mason & Crew,
James White and The Blacks,
The American Breed,
The Star Department,
Marvin Gaye,
DJ Sneak,
Davy DMX,
The Sound,
The Doobie Brothers,
The Angels of Light,
Mr. Review,
MC5,
Can,
Silicon Teens,
Pylon,
Louis and Bebe Barron,
Trumans Water,
Theoretical Girls,
Niagra,
PIL,
Terry Callier,
Camron Feat. Memphis Bleek And Beenie Seigel,
Eurythmics,
Eric Copeland,
Jandek,
Marcia Griffiths,
Eric B and Rakim,
The Slits,
The Divine Comedy,
Arcadia,
Chris & Cosey,
Fugazi,
Alice Coltrane,
The J.B.'s,
Henry Cow,
Amon Düül,
Easy Going,
Patti Smith,
Ronan,
The Gories,
Slave,
Von Mondo,
Ten City,
Chrome,
Kaleidoscope,
Mad Mike,
Lyres,
The West Coast Pop Art Experimental Band,
Josef K,
Lalo Schifrin,
Spoonie Gee, Spoonie Gee, Spoonie Gee, Spoonie Gee.
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.