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 Ivory Coast and from Manila.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1961 to 1973.
I'm losing my edge.
To all the kids in New York and Beijing.
I'm losing my edge to the art-school London 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 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 F. McDonald to the techno kids.
I played it at the Troubador.
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 Vladislav Delay. All the underground hits.
All The Saints tracks. I heard you have a vinyl of every The Toasters record on German import.
I heard that you have a white label of every seminal electroclash 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 chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Eddi Front record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kerrie Biddell,
Magma,
Au Pairs,
June Days,
Cameo,
Q and Not U,
The Smoke,
Rapeman,
Babytalk,
The Residents,
Larry & the Blue Notes,
Susan Cadogan,
The Fortunes,
Terrestrial Tones,
Urselle,
X-101,
The Searchers,
Moss Icon,
Lalo Schifrin,
Eric Copeland,
Jerry's Kids,
Lee Hazlewood,
The Moleskins,
London Community Gospel Choir,
Amazonics,
Sugar Minott,
Andrew Ashong & Theo Parrish,
Tres Demented,
Sly & The Family Stone,
Amon Düül II,
John Lydon,
Jeff Mills,
Max Romeo,
Archie Shepp,
John Cale,
Gang Green,
Ralphi Rosario,
Eurythmics,
Trumans Water,
Malaria!,
Surgeon,
DJ Style,
Warren Ellis,
Drexciya,
Outsiders,
Barclay James Harvest,
John Coltrane,
Echospace,
Don Cherry,
Public Image Ltd.,
The Cramps,
Circle Jerks,
Throbbing Gristle,
Main Source,
The Techniques,
Unwound,
Maurizio,
Black Moon,
Electric Light Orchestra,
Minnie Riperton,
Stockholm Monsters,
Matthew Halsall,
Dark Day,
F. McDonald, F. McDonald, F. McDonald, F. McDonald.
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.