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 Zambia and from Sao Paulo.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1971.
I'm losing my edge.
To all the kids in Paris and Glasgow.
I'm losing my edge to the art-school Portland 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 mellotron 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 Sparks to the dance kids.
I played it at the Crocodile.
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 Kauko Röyhkä ja Narttu. All the underground hits.
All Sarah Menescal tracks. I heard you have a vinyl of every Siouxsie and the Banshees record on German import.
I heard that you have a white label of every seminal funk 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 guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cluster,
Yazoo,
The Standells,
Liliput,
The Monochrome Set,
Glenn Branca,
Black Pus,
Q65,
Sound Behaviour,
Pylon,
Kaleidoscope,
Aural Exciters,
Severed Heads,
Audionom,
Malaria!,
Spoonie Gee,
FM Einheit,
JFA,
Rotary Connection,
Sonny Sharrock,
Wally Richardson,
The Dirtbombs,
Brass Construction,
Gang Green,
Laurel Aitken,
Shuggie Otis,
Stockholm Monsters,
Funky Four + One,
X-Ray Spex,
Gong,
Jacques Brel,
ABBA,
London Community Gospel Choir,
Nick Cave & The Bad Seeds,
Interpol,
Groovy Waters,
Sex Pistols,
Al Stewart,
Lindisfarne,
Mantronix,
Letta Mbulu,
Ajijia Myrayebe,
Intrusion,
Ituana,
Rowland S Howard / Lydia Lunch,
ABC,
Marshall Jefferson,
the Association,
Mr. Review,
Oblivians,
Notorious BIG live in Amsterdam,
Visionaries,LMNO, T- Love & Iriscience,
The Red Krayola,
John Holt,
Manfred Mann's Earth Band,
Accadde A,
Gang Gang Dance,
This Heat,
Soul Sonic Force,
Neu!,
Nils Olav,
Monks,
Tears for Fears, Tears for Fears, Tears for Fears, Tears for Fears.
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.