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 Norway and from Seoul.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Bologna and Tokyo.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the clarinet sounds with much patience.
I was there when Robert Palmer 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 Khruangbin to the electroclash 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 Kaleidoscope. All the underground hits.
All Monolake tracks. I heard you have a vinyl of every Idris Muhammad record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Robert Wyatt record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Jeru the Damaja,
the Soft Cell,
Bootsy Collins,
The Count Five,
DeepChord presents Echospace,
Qualms,
Lucky Dragons,
Drive Like Jehu,
Boogie Down Productions,
Suicide,
Eric B and Rakim,
Crime,
Alphaville,
Jerry's Kids,
ABC,
Mad Mike,
Terry Callier,
Hasil Adkins,
Eden Ahbez,
London Community Gospel Choir,
The Dave Clark Five,
The Black Dice,
Magma,
Mark Hollis,
Chrome,
Todd Rundgren,
James Chance & The Contortions,
X-101,
The J.B.'s,
The Music Machine,
Nirvana,
DNA,
Malaria!,
Yellowson,
Wally Richardson,
T.S.O.L.,
La Düsseldorf,
Ludus,
Kas Product,
The Electric Prunes,
AZ,
David McCallum,
Rufus Thomas,
Nik Kershaw,
Kurtis Blow,
One Last Wish,
The Move,
Fatback Band,
The Gap Band,
the Human League,
New Order,
The Alarm Clocks,
Theoretical Girls,
Gerry Rafferty,
Massinfluence,
Amon Düül II,
Gil Scott-Heron & Brian Jackson,
Magazine,
Fort Wilson Riot,
The Monks,
Country Teasers,
Underground Resistance,
Johnny Clarke, Johnny Clarke, Johnny Clarke, Johnny Clarke.
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.