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 St Lucia 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 1966 to 1972.
I'm losing my edge.
To all the kids in Bologna and Manchester.
I'm losing my edge to the art-school Edmonton 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the linndrum 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 The Red Krayola to the grime kids.
I played it at the Hacienda.
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 Fugs. All the underground hits.
All Model 500 tracks. I heard you have a vinyl of every Mary Jane Girls 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 '50s cut and another box set from the '80s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barrington Levy,
The Moody Blues,
The Black Dice,
Los Fastidios,
T. Rex,
Archie Shepp,
Pylon,
MDC,
Ultravox,
Soft Machine,
Delon & Dalcan,
Dorothy Ashby,
Kevin Saunderson,
Lonnie Liston Smith,
Man Parrish,
Tears for Fears,
The Index,
John Foxx,
Roxy Music,
Procol Harum,
The Evens,
Royal Trux,
Smog,
The Fuzztones,
OOIOO,
Kerrie Biddell,
Outsiders,
Ituana,
Drive Like Jehu,
Traffic Nightmare,
Massinfluence,
Dr. Dre and Snoop Doggy Dog,
Scrapy,
Ash Ra Tempel,
Magazine,
The Seeds,
The Sonics,
Aloha Tigers,
Nils Olav,
Swans,
Vainqueur,
Skarface,
Gerry Rafferty,
Cameo,
Black Flag,
Gichy Dan,
Terry Callier,
Bang on a Can All-Stars,
Richard Hell and the Voidoids,
Echospace,
The Toasters,
The Pop Group,
Newcleus,
Marine Girls,
Minor Threat,
Donny Hathaway,
Jesper Dahlback,
Model 500,
June of 44,
The Searchers,
The Techniques, The Techniques, The Techniques, The Techniques.
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.