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 Tanzania and from Milan.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Milan and Winnipeg.
I'm losing my edge to the art-school Tokyo 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 chamberlin 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 Aaron Thompson to the punk kids.
I played it at the Spitz.
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 Standells. All the underground hits.
All Black Pus tracks. I heard you have a vinyl of every The Offenders 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 '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pagans,
James Chance & The Contortions,
Traffic Nightmare,
Kenny Larkin,
Lou Reed & John Cale,
Tomorrow,
Amon Düül II,
The Move,
The Selecter,
Agitation Free,
Avey Tare,
Reuben Wilson,
Gang Starr,
Gian Franco Pienzio,
the Sonics,
Aaron Thompson,
AZ,
Isaac Hayes,
Make Up,
Bang on a Can All-Stars,
Rufus Thomas,
The Red Krayola,
Byron Stingily,
Subhumans,
The Beau Brummels,
New York Dolls,
The Golliwogs,
Prince Buster,
The Doors,
Ornette Coleman,
Hot Snakes,
Tommy Roe,
Patti Smith,
Ultramagnetic MC's,
The Gap Band,
Oneida,
The Seeds,
Masters at Work,
John Lydon,
Gichy Dan,
Rekid,
Erasure,
Dr. Dre and Snoop Doggy Dog,
John Foxx,
Judy Mowatt,
The Young Rascals,
Franke,
Underground Resistance,
Eric Dolphy,
Alison Limerick,
Orchestral Manoeuvres in the Dark,
Richard Hell and the Voidoids,
Urselle,
Lee Hazlewood,
Flamin' Groovies,
Mantronix,
Justin Hinds & The Dominoes,
Intrusion,
CMW,
Robert Görl,
L. Decosne,
Peter and Kerry,
Mo-Dettes,
The Cramps, The Cramps, The Cramps, The Cramps.
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.