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 Turkey and from Taipei.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Milan and New York.
I'm losing my edge to the art-school Mexico City 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 synthesizer sounds with much patience.
I was there when David Bowie 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 Charles Mingus to the grime 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 Chris & Cosey. All the underground hits.
All Gong tracks. I heard you have a vinyl of every Johnny Osbourne record on German import.
I heard that you have a white label of every seminal funk 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 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Young Marble Giants record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wally Richardson,
Black Flag,
The Cosmic Jokers,
The Dave Clark Five,
London Community Gospel Choir,
Negative Approach,
Manfred Mann's Earth Band,
Stockholm Monsters,
Matthew Halsall,
Sun City Girls,
Glambeats Corp.,
Silicon Teens,
Liliput,
Glenn Branca,
Harry Pussy,
Hoover,
Electric Prunes,
Susan Cadogan,
The Slits,
Bobby Byrd,
Chris Corsano,
DJ Style,
Oblivians,
John Holt,
John Lydon,
Television Personalities,
Lafayette Afro Rock Band,
David McCallum,
Oneida,
The Sonics,
the Slits,
Japan,
Cecil Taylor,
The Count Five,
U.S. Maple,
Peter & Gordon,
Funkadelic,
Boz Scaggs,
The Offenders,
Piero Umiliani,
Chrome,
Rosa Yemen,
Nico,
Oppenheimer Analysis,
Todd Rundgren,
T.S.O.L.,
Kool G Rap & DJ Polo,
China Crisis,
The Mighty Diamonds,
Lee Hazlewood,
Laurel Aitken,
Gian Franco Pienzio,
Radiopuhelimet,
Justin Hinds & The Dominoes,
Robert Görl,
Spandau Ballet,
Rowland S Howard / Lydia Lunch,
The Mojo Men,
Stiv Bators,
Albert Ayler,
Fluxion, Fluxion, Fluxion, Fluxion.
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.