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 Canada and from Philadelphia.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1979.
I'm losing my edge.
To all the kids in Jakarta and London.
I'm losing my edge to the art-school Bremen 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 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 Godley & Creme to the rock kids.
I played it at CBGB's.
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 Colin Newman. All the underground hits.
All The Slits tracks. I heard you have a vinyl of every Larry & the Blue Notes record on German import.
I heard that you have a white label of every seminal electroclash 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 theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New Order,
The Sonics,
Eric Dolphy,
Visage,
Faust,
Franke,
Lou Reed,
London Community Gospel Choir,
Public Enemy,
The Names,
The Red Krayola,
Black Bananas,
Bush Tetras,
Ronnie Foster,
Spoonie Gee,
Glenn Branca,
The Detroit Cobras,
Derrick May,
Jeru the Damaja,
The Velvet Underground,
D'Angelo,
Scrapy,
Alice Coltrane,
Depeche Mode,
The Vogues,
8 Eyed Spy,
The Residents,
Dark Day,
Sex Pistols,
Malaria!,
KRS-One,
Soft Machine,
La Düsseldorf,
MC5,
John Lydon,
Siouxsie and the Banshees,
Eve St. Jones,
Radio Birdman,
L. Decosne,
Dennis Brown,
John Foxx,
Jeff Lynne,
Piero Umiliani,
James Chance & The Contortions,
Harmonia,
Boogie Down Productions,
Skarface,
Notorious Big And Bone Thugs,
Bizarre Inc.,
Soulsonic Force,
Jacques Brel,
Sandy B,
Youth Brigade,
Pylon,
The West Coast Pop Art Experimental Band,
Marc Almond,
Harpers Bizarre,
Al Stewart,
Barry Ungar,
Oppenheimer Analysis,
Susan Cadogan,
The Monochrome Set,
The Barracudas,
The Misunderstood, The Misunderstood, The Misunderstood, The Misunderstood.
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.