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 Guyana and from Tokyo.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Mexico City and Paris.
I'm losing my edge to the art-school Bologna 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 chamberlin sounds with much patience.
I was there when David Bowie 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 China Crisis to the punk kids.
I played it at the Astoria.
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 Alton Ellis. All the underground hits.
All Babytalk 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 crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Skaos record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Talk Talk,
The Beau Brummels,
Roy Ayers,
Sex Pistols,
Minor Threat,
Masters at Work,
Pole,
The Gories,
Lee Hazlewood,
The Fortunes,
Terrestrial Tones,
R.M.O.,
Flamin' Groovies,
Jerry Gold Smith,
Dawn Penn,
Scrapy,
John Coltrane,
Jesper Dahlbäck,
Cal Tjader,
Gil Scott-Heron and Jamie xx,
The Star Department,
JFA,
Depeche Mode,
Qualms,
The Associates,
Pylon,
Sexual Harrassment,
Outsiders,
The Chocolate Watch Band,
Bronski Beat,
Bang on a Can All-Stars,
Neil Young,
The Jesus and Mary Chain,
Siouxsie and the Banshees,
Rod Modell,
Flash Fearless,
Guru Guru,
Angry Samoans,
Lou Reed & John Cale,
Brass Construction,
Schoolly D,
Dark Day,
Parry Music,
Gil Scott-Heron & Brian Jackson,
Chris Corsano,
The Doors,
Fifty Foot Hose,
Eric Dolphy,
Eric Copeland,
The Cowsills,
Agent Orange,
Sun Ra Arkestra,
Lizzy Mercier Descloux,
The Red Krayola,
Ken Boothe,
Procol Harum,
Cybotron,
Bill Near,
Visage,
Danielle Patucci,
MC5, MC5, MC5, MC5.
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.