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 Poland and from Edmonton.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Shanghai and Shanghai.
I'm losing my edge to the art-school Delhi 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 clarinet 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 the Association 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 Lou Reed. All the underground hits.
All The Fall tracks. I heard you have a vinyl of every The Fall record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Selecter record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q65,
Colin Newman,
Stetsasonic,
Sixth Finger,
Y Pants,
Crispian St. Peters,
Traffic Nightmare,
The Pop Group,
Tommy Roe,
Sparks,
Ultra Naté,
Eurythmics,
ABC,
Glambeats Corp.,
Bobby Byrd,
Crooked Eye,
Japan,
Reagan Youth,
Sex Pistols,
MDC,
Amazonics,
Moebius,
Grandmaster Flash and the Furious Five,
Robert Hood,
Maleditus Sound,
Mars,
Monks,
Chrome,
Nas,
Nick Cave & The Bad Seeds,
Cecil Taylor,
Fear,
Babytalk,
The Buckinghams,
CMW,
Charles Mingus,
Icehouse,
Lizzy Mercier Descloux,
Nils Olav,
Idris Muhammad,
Radio Birdman,
Swell Maps,
Captain Beefheart & His Magic Band,
Liaisons Dangereuses,
Visionaries,LMNO, T- Love & Iriscience,
Barry Ungar,
The Fire Engines,
Second Layer,
Nik Kershaw,
Half Japanese,
Bizarre Inc.,
The Kinks,
Qualms,
Marine Girls,
June Days,
a-ha,
Tim Buckley,
Index,
Agent Orange,
Motorama,
Echospace,
The Busters, The Busters, The Busters, The Busters.
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.