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 Montenegro and from Philadelphia.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Calgary and Lagos.
I'm losing my edge to the art-school London 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the theremin 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 Fugazi to the electroclash kids.
I played it at the 40 Watt.
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 The Doobie Brothers. All the underground hits.
All Bronski Beat tracks. I heard you have a vinyl of every Nas record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Pet Shop Boys record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Light Orchestra,
the Slits,
Super Lover Cee & Casanova Rud,
Slick Rick,
John Lydon,
Lee Hazlewood,
The Fall,
Rapeman,
Unwound,
The Mojo Men,
Shoche,
Judy Mowatt,
The Busters,
Eve St. Jones,
Bobby Sherman,
Alphaville,
Public Image Ltd.,
Lakeside,
Monolake,
a-ha,
Roy Ayers,
48th St. Collective,
Jacob Miller,
Swans,
Massinfluence,
The Moleskins,
Cluster,
Scion,
Mandrill,
Eric Dolphy,
The Searchers,
Byron Stingily,
Rotary Connection,
Jeff Mills,
Faraquet,
Jerry's Kids,
Yaz,
John Coltrane,
The Barracudas,
Dark Day,
The Five Americans,
Dorothy Ashby,
Kenny Larkin,
Gabor Szabo,
Gerry Rafferty,
Procol Harum,
Das Ding,
The Cowsills,
Notorious BIG live in Amsterdam,
Pussy Galore,
Schoolly D,
The Sisters of Mercy,
Ice-T,
Gang of Four,
the Swans,
Nik Kershaw,
Man Eating Sloth,
Ronan,
June Days,
Moss Icon,
Cal Tjader,
Vainqueur,
Easy Going, Easy Going, Easy Going, Easy Going.
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.