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 Saudi Arabia and from Tokyo.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Winnipeg.
I'm losing my edge to the art-school New York 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 harpsichord sounds with much patience.
I was there when Holger Czukay 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 The Toasters to the punk 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 T. Rex. All the underground hits.
All Organ tracks. I heard you have a vinyl of every Aural Exciters 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 '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Aural Exciters record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
CMW,
Siouxsie and the Banshees,
Roxette,
Little Man,
Heaven 17,
Bang on a Can All-Stars,
Theoretical Girls,
Sister Nancy,
Crash Course in Science,
Joensuu 1685,
Colin Newman,
Chris & Cosey,
Oppenheimer Analysis,
F. McDonald,
La Düsseldorf,
Brothers Johnson,
DJ Sneak,
Larry & the Blue Notes,
The Cramps,
Angry Samoans,
MC5,
Bill Near,
Barclay James Harvest,
Girls At Our Best!,
Rites of Spring,
Judy Mowatt,
John Holt,
Circle Jerks,
Bizarre Inc.,
The Divine Comedy,
Drive Like Jehu,
The J.B.'s,
The Offenders,
Dead Boys,
Avey Tare & Kría Brekkan,
Jacques Brel,
Donny Hathaway,
Buzzcocks,
Ronan,
Agitation Free,
Notorious Big And Bone Thugs,
The Fall,
Scratch Acid,
Siglo XX,
Marine Girls,
Jerry's Kids,
Gregory Isaacs,
Ponytail,
Gil Scott-Heron & Brian Jackson,
Audionom,
Boogie Down Productions,
Blancmange,
KRS-One,
Grauzone,
The Toasters,
Desert Stars,
the Bar-Kays,
Black Pus,
B.T. Express,
Whodini,
UT,
The Fugs, The Fugs, The Fugs, The Fugs.
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.