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 Denmark and from Bologna.
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 1979.
I'm losing my edge.
To all the kids in Woodstock and Jakarta.
I'm losing my edge to the art-school London 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the chamberlin sounds with much patience.
I was there when David Bowie 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 Donald Byrd to the funk kids.
I played it at the Troubador.
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 Pantaleimon. All the underground hits.
All The Misunderstood tracks. I heard you have a vinyl of every New York Dolls record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Searchers 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?
Nick Cave & The Bad Seeds,
The Victims,
Tears for Fears,
T. Rex,
The Sound,
Howard Jones,
Sound Behaviour,
Unrelated Segments,
Bobby Womack,
Cabaret Voltaire,
Max Romeo,
Rotary Connection,
Alison Limerick,
The Sonics,
Negative Approach,
MC5,
The Toasters,
John Foxx,
DJ Style,
Bobby Hutcherson,
Scott Walker,
Bizarre Inc.,
Wings,
Severed Heads,
Liaisons Dangereuses,
Sister Nancy,
The Leaves,
Cameo,
Echospace,
Main Source,
Subhumans,
The Fugs,
Ajijia Myrayebe,
Michelle Simonal,
The Fuzztones,
Deakin,
John Coltrane,
Black Sheep,
ABBA,
Intrusion,
Albert Ayler,
Faust,
Electric Light Orchestra,
Andrew Ashong & Theo Parrish,
Mad Mike,
Lou Reed & Metallica,
Teenage Jesus and the Jerks,
Joensuu 1685,
Pylon,
The Chocolate Watch Band,
Spandau Ballet,
Banda Bassotti,
Richard Hell and the Voidoids,
The Royal Family And The Poor,
Peter and Kerry,
Bobby Byrd,
Moby Grape,
Arab on Radar,
Laurel Aitken,
Rhythm & Sound,
Monks,
Sunsets and Hearts,
Larry & the Blue Notes,
Brass Construction,
The J.B.'s, The J.B.'s, The J.B.'s, The J.B.'s.
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.