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 Haiti and from Lyon.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1971.
I'm losing my edge.
To all the kids in Shanghai and Lyon.
I'm losing my edge to the art-school Lille 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 clarinet 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 Q65 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 Avey Tare's Slasher Flicks. All the underground hits.
All Magazine tracks. I heard you have a vinyl of every Accadde A record on German import.
I heard that you have a white label of every seminal disco 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 a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter Gordon & Love of Life Orchestra,
Duran Duran,
Liaisons Dangereuses,
The Jesus and Mary Chain,
Hardrive,
The Searchers,
James White and The Blacks,
Amon Düül II,
The Young Rascals,
Jawbox,
The Gap Band,
The Golliwogs,
Ponytail,
Stereo Dub,
The Durutti Column,
The Gories,
Sound Behaviour,
Mars,
Country Joe & The Fish,
Bobby Byrd,
The Pop Group,
The Star Department,
B.T. Express,
Skaos,
Ossler,
Youth Brigade,
Kool Moe Dee,
Juan Atkins,
CMW,
Hashim,
The Smiths,
Jeru the Damaja,
Infiniti,
Darondo,
Man Eating Sloth,
Second Layer,
Marcia Griffiths,
Underground Resistance,
Aaron Thompson,
the Soft Cell,
Severed Heads,
Suicide,
The Five Americans,
Rekid,
The Moleskins,
Japan,
Camberwell Now,
Maleditus Sound,
Kurtis Blow,
Slave,
Curtis Mayfield,
The Victims,
The Leaves,
World's Most,
H. Thieme,
Donald Byrd,
Hoover,
the Normal,
Mantronix,
Jandek,
Animal Collective,
Hot Snakes, Hot Snakes, Hot Snakes, Hot Snakes.
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.