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 Micronesia and from Milan.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Portland and Tokyo.
I'm losing my edge to the art-school Jakarta 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 marimba sounds with much patience.
I was there when Captain Beefheart 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 Pierre Henry to the grunge 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 Gang Gang Dance. All the underground hits.
All Ponytail tracks. I heard you have a vinyl of every Howard Jones 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 '70s cut and another box set from the '70s.
I hear you're buying an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Cameo record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q65,
Eric Dolphy,
One Last Wish,
Joey Negro,
AZ,
Dennis Brown,
Kerrie Biddell,
Piero Umiliani,
Brass Construction,
Rufus Thomas,
Davy DMX,
Liaisons Dangereuses,
The Saints,
Laurel Aitken,
Flamin' Groovies,
Fugazi,
The Names,
Byron Stingily,
Fela Kuti,
Spandau Ballet,
The Neon Judgement,
The Moody Blues,
Tim Buckley,
Isaac Hayes,
Kaleidoscope,
8 Eyed Spy,
Buzzcocks,
Godley & Creme,
The American Breed,
Crispian St. Peters,
Livin' Joy,
The Fugs,
Johnny Osbourne,
Dual Sessions,
Kings Of Tomorrow,
Crime,
La Düsseldorf,
Marshall Jefferson,
Eyeless In Gaza,
Wally Richardson,
Parry Music,
Reuben Wilson,
Organ,
John Coltrane,
Spoonie Gee,
Jesper Dahlback,
Desert Stars,
Man Eating Sloth,
DJ Sneak,
The Doobie Brothers,
Lungfish,
Popol Vuh,
Donald Byrd,
Röyhkä ja Rättö ja Lehtisalo,
The Pop Group,
Intrusion,
Shuggie Otis,
The Doors,
Infiniti,
Ponytail,
Delta 5,
The Mojo Men, The Mojo Men, The Mojo Men, The Mojo Men.
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.