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 Belgium and from Jakarta.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Houston and Salvador.
I'm losing my edge to the art-school Philadelphia 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 spring reverb sounds with much patience.
I was there when Donald Fagen 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 Joe Smooth to the disco 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 The American Breed. All the underground hits.
All Red Lorry Yellow Lorry tracks. I heard you have a vinyl of every B.T. Express record on German import.
I heard that you have a white label of every seminal rock 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 a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Joe Finger record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kaleidoscope,
The Kinks,
Ossler,
June Days,
Interpol,
The Sound,
Hot Snakes,
Alison Limerick,
Niagra,
K-Klass,
Ituana,
Howard Jones,
Easy Going,
the Normal,
Alice Coltrane,
Ludus,
Y Pants,
Youth Brigade,
JFA,
Davy DMX,
Be Bop Deluxe,
E-Dancer,
Drive Like Jehu,
The Dirtbombs,
Aural Exciters,
kango's stein massive,
Soft Machine,
Kayak,
Oblivians,
Strawberry Alarm Clock,
In Retrospect,
Girls At Our Best!,
Dual Sessions,
Los Fastidios,
Gerry Rafferty,
Severed Heads,
EPMD,
48th St. Collective,
The Smiths,
The Birthday Party,
David Bowie,
The West Coast Pop Art Experimental Band,
The Motions,
Yusef Lateef,
Porter Ricks,
Maurizio,
One Last Wish,
The Moleskins,
The Stooges,
Television Personalities,
Chris & Cosey,
Don Cherry,
Eli Mardock,
Curtis Mayfield,
Major Organ And The Adding Machine,
Bob Dylan,
The Electric Prunes,
Colin Newman,
The Cosmic Jokers,
Nico,
Thompson Twins,
James Chance & The Contortions,
Amazonics,
Yazoo,
Dark Day, Dark Day, Dark Day, Dark Day.
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.