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 Costa Rica and from Mexico City.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Bologna and Taipei.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the guitar sounds with much patience.
I was there when Nile Rodgers 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 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 The Toasters. All the underground hits.
All The Peanut Butter Conspiracy tracks. I heard you have a vinyl of every Sly & The Family Stone 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 '70s cut and another box set from the '80s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Parry Music record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sunsets and Hearts,
Oppenheimer Analysis,
The Victims,
Be Bop Deluxe,
Ajijia Myrayebe,
Zero Boys,
Joyce Sims,
Al Stewart,
Marvin Gaye,
Popol Vuh,
Lou Christie,
Panda Bear,
Derrick May,
Siglo XX,
Matthew Halsall,
Flash Fearless,
Sound Behaviour,
The Cure,
Underground Resistance,
The Invisible,
Morten Harket,
Pharoah Sanders,
Sad Lovers and Giants,
The Busters,
Electric Light Orchestra,
Little Man,
The Kinks,
Sex Pistols,
The Mojo Men,
The Blues Magoos,
Eve St. Jones,
Camouflage,
Trumans Water,
Peter and Kerry,
Jeff Mills,
The Cramps,
the Association,
Pantaleimon,
Rufus Thomas,
Pete Rock & C.L. Smooth,
PIL,
Prince Buster,
Sparks,
Anakelly,
Rites of Spring,
Man Parrish,
Half Japanese,
Orchestral Manoeuvres in the Dark,
Janne Schatter,
Kayak,
David McCallum,
Quadrant,
The Alarm Clocks,
Magazine,
Delon & Dalcan,
Traffic Nightmare,
Avey Tare & Kría Brekkan,
Johnny Clarke,
Scratch Acid,
Bobby Womack, Bobby Womack, Bobby Womack, Bobby Womack.
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.