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 Sweden and from Manila.
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 1974.
I'm losing my edge.
To all the kids in Woodstock and London.
I'm losing my edge to the art-school Halifax 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 güiro sounds with much patience.
I was there when Robert Palmer 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 Swell Maps to the jazz kids.
I played it at the Spitz.
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 Junior Murvin. All the underground hits.
All Y Pants tracks. I heard you have a vinyl of every The Zeros 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 '80s.
I hear you're buying a harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wolf Eyes,
Dead Boys,
Section 25,
Metal Thangz,
Mary Jane Girls,
Visage,
Brothers Johnson,
Todd Terry,
Dr. Dre and Snoop Doggy Dog,
Sandy B,
Eric Dolphy,
Anakelly,
Freddie Wadling,
The Beau Brummels,
Scion,
Pierre Henry,
Curtis Mayfield,
EPMD,
The Cosmic Jokers,
ABBA,
Piero Umiliani,
Sex Pistols,
Todd Rundgren,
Qualms,
DNA,
Angry Samoans,
X-101,
Bootsy's Rubber Band,
Jimmy McGriff,
Shoche,
Black Sheep,
Funkadelic,
London Community Gospel Choir,
Throbbing Gristle,
The Human League,
Jeru the Damaja,
T. Rex,
Henry Cow,
Sight & Sound,
DJ Sneak,
Tres Demented,
The Vogues,
Josef K,
New Order,
The Durutti Column,
The Misunderstood,
Easy Going,
Blancmange,
Magma,
John Foxx,
Lonnie Liston Smith,
Silicon Teens,
Arthur Verocai,
Minnie Riperton,
Janne Schatter,
Kaleidoscope,
Intrusion,
Zero Boys,
The Sound,
Robert Hood,
Make Up,
Ultravox,
The Fugs,
Bobbi Humphrey, Bobbi Humphrey, Bobbi Humphrey, Bobbi Humphrey.
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.