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 Turkmenistan and from Johannesburg.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1974.
I'm losing my edge.
To all the kids in Bremen and Sao Paulo.
I'm losing my edge to the art-school Taipei 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 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 Theoretical Girls to the funk kids.
I played it at the Crocodile.
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 Average White Band. All the underground hits.
All Rekid tracks. I heard you have a vinyl of every The Techniques record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
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 Smog record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron 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?
Gichy Dan,
Jeff Lynne,
Albert Ayler,
Kas Product,
These Immortal Souls,
Bill Near,
Oblivians,
Matthew Halsall,
Sad Lovers and Giants,
Basic Channel,
The Jesus and Mary Chain,
The Misunderstood,
Johnny Osbourne,
Wasted Youth,
Skarface,
Fad Gadget,
Bush Tetras,
Grey Daturas,
Barry Ungar,
Manfred Mann's Earth Band,
Mr. Review,
Gil Scott-Heron and Jamie xx,
Maleditus Sound,
Bad Manners,
The Standells,
Art Ensemble Of Chicago,
The Smiths,
Stiv Bators,
Lungfish,
Steve Hackett,
Todd Terry,
Sun Ra Arkestra,
UT,
Black Moon,
Henry Cow,
Deadbeat,
U.S. Maple,
Public Enemy,
Buzzcocks,
Notorious BIG live in Amsterdam,
F. McDonald,
Richard Hell and the Voidoids,
Kerrie Biddell,
Moby Grape,
Ponytail,
Lou Reed & John Cale,
The Monochrome Set,
Camron Feat. Memphis Bleek And Beenie Seigel,
John Lydon,
The Peanut Butter Conspiracy,
Amon Düül,
Sarah Menescal,
Vladislav Delay,
Rhythim Is Rhythim,
The Sisters of Mercy,
Organ,
Essential Logic,
Suburban Knight,
Piero Umiliani,
Lou Reed,
Average White Band,
Japan,
Main Source, Main Source, Main Source, Main Source.
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.