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 Lesotho and from Philadelphia.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Delhi and Milan.
I'm losing my edge to the art-school Woodstock 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the guitar 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 Funkadelic to the techno 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 Banda Bassotti. All the underground hits.
All Selector Dub Narcotic tracks. I heard you have a vinyl of every Porter Ricks 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 '70s cut and another box set from the '90s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Smog record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultra Naté,
Iggy Pop,
Pere Ubu,
Bobbi Humphrey,
Sound Behaviour,
Soulsonic Force,
Juan Atkins,
Kerri Chandler,
PIL,
Zero Boys,
One Last Wish,
The Standells,
Nils Olav,
Stiv Bators,
Gian Franco Pienzio,
Khruangbin,
Lee Hazlewood,
Larry & the Blue Notes,
Accadde A,
Qualms,
The Mojo Men,
Roy Ayers Ubiquity,
Wire,
Sister Nancy,
CMW,
UT,
Derrick May,
Delta 5,
Thinking Fellers Union Local 282,
Oblivians,
Rhythm & Sound,
The Busters,
Pharoah Sanders,
Saccharine Trust,
Ohio Players,
The Techniques,
Judy Mowatt,
Notorious BIG live in Amsterdam,
Sunsets and Hearts,
Lou Reed & John Cale,
Terrestrial Tones,
Peter & Gordon,
Ossler,
The Knickerbockers,
Arcadia,
Cameo,
Laurel Aitken,
Wolf Eyes,
The Moody Blues,
Black Bananas,
Minnie Riperton,
Fort Wilson Riot,
Symarip,
James White and The Blacks,
Major Organ And The Adding Machine,
Underground Resistance,
Kauko Röyhkä ja Narttu,
Deepchord,
Jimmy McGriff,
The Sonics,
Suburban Knight,
Quadrant,
Joyce Sims,
Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan.
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.