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 Cyprus and from Lagos.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Salvador.
I'm losing my edge to the art-school Madrid 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the chamberlin sounds with much patience.
I was there when Michael McDonald 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 Maurizio to the dance 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 Warren Ellis. All the underground hits.
All Mantronix tracks. I heard you have a vinyl of every Barclay James Harvest record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Marine Girls record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlback,
Magazine,
Radio Birdman,
Half Japanese,
a-ha,
Pere Ubu,
Skaos,
Harpers Bizarre,
The Cosmic Jokers,
Man Eating Sloth,
Ronan,
Suburban Knight,
U.S. Maple,
New Age Steppers,
Tomorrow,
The Jesus and Mary Chain,
Porter Ricks,
The J.B.'s,
The Young Rascals,
Rufus Thomas,
Kerrie Biddell,
Severed Heads,
Masters at Work,
John Lydon,
Bobbi Humphrey,
Lebanon Hanover,
Mars,
the Soft Cell,
Liaisons Dangereuses,
Cal Tjader,
Gregory Isaacs,
The Buckinghams,
Roger Hodgson,
T. Rex,
Kenny Larkin,
The Smiths,
Jeru the Damaja,
The Shadows of Knight,
Colin Newman,
Girls At Our Best!,
La Düsseldorf,
Arthur Verocai,
Pharaoh Sanders and the Fire Engines,
Surgeon,
Notorious Big And Bone Thugs,
Los Fastidios,
Eden Ahbez,
Ohio Players,
Moss Icon,
Q65,
DeepChord presents Echospace,
Gabor Szabo,
The Fugs,
Lou Christie,
Arcadia,
Rekid,
Matthew Bourne,
Sparks,
Scrapy,
Kurtis Blow,
Grauzone,
Icehouse,
Sexual Harrassment, Sexual Harrassment, Sexual Harrassment, Sexual Harrassment.
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.