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 Tunisia and from Toronto.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1970.
I'm losing my edge.
To all the kids in Philadelphia and Philadelphia.
I'm losing my edge to the art-school Hong Kong 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 chamberlin sounds with much patience.
I was there when Lou Reed 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 Matthew Bourne to the rap kids.
I played it at Cafe Wha.
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 Soulsonic Force. All the underground hits.
All Tubeway Army tracks. I heard you have a vinyl of every Unwound record on German import.
I heard that you have a white label of every seminal dance 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 oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a CMW record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Animal Collective,
Scion,
Rhythim Is Rhythim,
Ronan,
The Sonics,
Gil Scott-Heron and Jamie xx,
Siouxsie and the Banshees,
Bobby Byrd,
Heavy D & The Boyz,
Schoolly D,
Thee Headcoats,
Mo-Dettes,
Basic Channel,
The Shadows of Knight,
The Divine Comedy,
Blossom Toes,
Vladislav Delay,
Kayak,
Jandek,
Wally Richardson,
Pharoah Sanders,
Mandrill,
Alton Ellis,
Japan,
Parry Music,
Niagra,
Johnny Clarke,
The Dave Clark Five,
Scan 7,
The Moleskins,
Sister Nancy,
Newcleus,
The Sound,
Electric Light Orchestra,
Drive Like Jehu,
Susan Cadogan,
Eric Dolphy,
Tim Buckley,
Don Cherry,
The Toasters,
Das Ding,
The Seeds,
Chris & Cosey,
DJ Style,
The Birthday Party,
Pere Ubu,
John Lydon,
Desert Stars,
Stiv Bators,
Bauhaus,
The Selecter,
Skriet,
The Flesh Eaters,
The Zeros,
Sixth Finger,
E-Dancer,
Ten City,
JFA,
Grandmaster Flash,
Audionom,
Monks, Monks, Monks, Monks.
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.