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 Turkey and from Houston.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Shanghai.
I'm losing my edge to the art-school Mexico City 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 1977 at the first Human League practice in a loft in Sheffield.
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 June Days to the electroclash 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 X-102. All the underground hits.
All Jerry's Kids tracks. I heard you have a vinyl of every Ultra Naté record on German import.
I heard that you have a white label of every seminal grime 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 a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Standells record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blancmange,
Warren Ellis,
Moby Grape,
Ronan,
Rhythm & Sound,
EPMD,
Magazine,
Richard Hell and the Voidoids,
Franke,
Wasted Youth,
Sonic Youth,
Flash Fearless,
The Motions,
Sandy B,
Massinfluence,
The Golliwogs,
Oppenheimer Analysis,
Black Sheep,
The Durutti Column,
The Sisters of Mercy,
Can,
Half Japanese,
Kerri Chandler,
Royal Trux,
Ultimate Spinach,
Adolescents,
The Seeds,
Matthew Halsall,
Curtis Mayfield,
48th St. Collective,
Dual Sessions,
Swans,
The Monks,
Funkadelic,
Jesper Dahlback,
Be Bop Deluxe,
Dawn Penn,
Fear,
Thee Headcoats,
The Names,
Minor Threat,
Pete Rock & C.L. Smooth,
Erasure,
The Royal Family And The Poor,
Roy Ayers,
CMW,
A Flock of Seagulls,
The Index,
Model 500,
Rekid,
Underground Resistance,
Gil Scott-Heron & Brian Jackson,
Tears for Fears,
Sight & Sound,
Tropical Tobacco,
Country Joe & The Fish,
The Smiths,
Soft Machine,
Agitation Free,
Terror Squad Feat. Camron,
Agent Orange,
Arcadia, Arcadia, Arcadia, Arcadia.
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.