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 Armenia and from Seoul.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Salvador and Bologna.
I'm losing my edge to the art-school Edmonton 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 synthesizer 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 Mary Jane Girls to the grunge kids.
I played it at CBGB's.
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 Deadbeat. All the underground hits.
All The Real Kids tracks. I heard you have a vinyl of every Darondo record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an oboe and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Saccharine Trust record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sex Pistols,
Sly & The Family Stone,
Andrew Hill,
Public Image Ltd.,
Wasted Youth,
Country Joe & The Fish,
Lindisfarne,
Radiohead,
Bobbi Humphrey,
Flipper,
Skriet,
Eddi Front,
June of 44,
The Busters,
The Mummies,
The Count Five,
The Velvet Underground,
Joey Negro,
Derrick May,
Nico,
ABBA,
Prince Buster,
Ken Boothe,
Brothers Johnson,
The Barracudas,
Ronnie Foster,
Curtis Mayfield,
The Offenders,
Rapeman,
Sound Behaviour,
John Holt,
Spandau Ballet,
DNA,
John Cale,
Notorious Big And Bone Thugs,
Rahsaan Roland Kirk,
Kevin Saunderson,
K-Klass,
Aural Exciters,
Black Moon,
Babytalk,
Japan,
Hot Snakes,
Accadde A,
The Zeros,
The Saints,
Animal Collective,
Amon Düül II,
Clear Light,
Symarip,
Marmalade,
The Music Machine,
Mo-Dettes,
The Blues Magoos,
Lou Reed & Metallica,
The Peanut Butter Conspiracy,
Chrome,
Nils Olav,
Monolake,
FM Einheit,
Jerry's Kids, Jerry's Kids, Jerry's Kids, Jerry's Kids.
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.