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 Ireland and from London.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1971.
I'm losing my edge.
To all the kids in Edmonton and Calgary.
I'm losing my edge to the art-school Lyon 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 güiro sounds with much patience.
I was there when Lou Reed 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 Harmonia 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 Dark Day. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every The Gap Band 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 '60s cut and another box set from the '70s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Machine,
Nico,
Interpol,
The Knickerbockers,
Captain Beefheart & His Magic Band,
Dorothy Ashby,
Camberwell Now,
Simply Red,
Echo & the Bunnymen,
Ash Ra Tempel,
Blake Baxter,
Deutsch Amerikanische Freundschaft,
Godley & Creme,
Carl Craig,
U.S. Maple,
MDC,
Technova,
Todd Terry,
OOIOO,
Idris Muhammad,
Smog,
Larry & the Blue Notes,
Pussy Galore,
Cymande,
Pylon,
Groovy Waters,
Swans,
The Selecter,
Barclay James Harvest,
Sandy B,
Sällskapet,
Mantronix,
Alison Limerick,
The Dead C,
Kenny Larkin,
Laurel Aitken,
The West Coast Pop Art Experimental Band,
Mars,
Jeff Lynne,
Bush Tetras,
Jeff Mills,
Country Teasers,
Tomorrow,
Joensuu 1685,
the Germs,
The Velvet Underground,
The Beau Brummels,
Louis and Bebe Barron,
Magazine,
Robert Wyatt,
Talk Talk,
Scrapy,
Tubeway Army,
The Invisible,
Manfred Mann's Earth Band,
Richard Hell and the Voidoids,
The Cosmic Jokers,
Sister Nancy,
John Foxx,
Ronan, Ronan, Ronan, Ronan.
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.