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 Rwanda and from Tokyo.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Woodstock and Johannesburg.
I'm losing my edge to the art-school Columbus 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the mellotron sounds with much patience.
I was there when Tom Verlaine 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 Liliput to the funk kids.
I played it at the Roxy.
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 The Sisters of Mercy tracks. I heard you have a vinyl of every Anthony Braxton record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Marvin Gaye record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sugar Minott,
Skaos,
Jerry Gold Smith,
The Royal Family And The Poor,
Barry Ungar,
the Fania All-Stars,
Joyce Sims,
Marvin Gaye,
Robert Wyatt,
Tears for Fears,
Jeff Mills,
Fugazi,
The Fire Engines,
David McCallum,
Iggy Pop,
The Fortunes,
David Bowie,
The Music Machine,
James White and The Blacks,
Supertramp,
Surgeon,
The Raincoats,
Drexciya,
Maurizio,
Gian Franco Pienzio,
Bauhaus,
DeepChord presents Echospace,
Matthew Halsall,
Hasil Adkins,
Freddie Wadling,
The Walker Brothers,
The Cure,
Symarip,
Public Enemy,
Popol Vuh,
Neil Young & Crazy Horse,
Gregory Isaacs,
Skarface,
Soul II Soul,
Bush Tetras,
Oblivians,
UT,
Pantytec,
John Lydon,
Pole,
Banda Bassotti,
Unrelated Segments,
Lyres,
Simply Red,
the Association,
Amon Düül,
Absolute Body Control,
Selector Dub Narcotic,
Delon & Dalcan,
The Divine Comedy,
Marine Girls,
Inner City,
Joy Division,
Boredoms,
Avey Tare's Slasher Flicks,
World's Most,
Crooked Eye, Crooked Eye, Crooked Eye, Crooked Eye.
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.