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 Panama and from Jakarta.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Edmonton and Houston.
I'm losing my edge to the art-school Tehran 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the rhodes sounds with much patience.
I was there when Captain Beefheart 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 Buzzcocks to the crunk 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 Bad Manners. All the underground hits.
All Crash Course in Science tracks. I heard you have a vinyl of every Pere Ubu record on German import.
I heard that you have a white label of every seminal grunge 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 clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cabaret Voltaire,
Suicide,
Radio Birdman,
The Zeros,
Y Pants,
Average White Band,
The Cure,
Marine Girls,
Dual Sessions,
Joensuu 1685,
Johnny Osbourne,
Howard Jones,
Tres Demented,
Andrew Ashong & Theo Parrish,
The Remains,
Beasts of Bourbon,
CMW,
Manfred Mann's Earth Band,
Lakeside,
the Human League,
Sight & Sound,
Essential Logic,
Robert Görl,
Malaria!,
Half Japanese,
MDC,
Soulsonic Force,
The Angels of Light,
Soft Machine,
Electric Light Orchestra,
Deakin,
Iggy Pop,
Symarip,
Tommy Roe,
Isaac Hayes,
The Buckinghams,
Rahsaan Roland Kirk,
Con Funk Shun,
Popol Vuh,
Rakim,
Bush Tetras,
Nas,
Skriet,
The Slits,
Johnny Clarke,
Dr. Dre and Snoop Doggy Dog,
Robert Wyatt,
Public Enemy,
Sällskapet,
Roy Ayers Ubiquity,
Sun Ra Arkestra,
Ituana,
Los Fastidios,
Stetsasonic,
Funky Four + One,
Dead Boys,
R.M.O.,
Nation of Ulysses,
Public Image Ltd.,
The Gap Band, The Gap Band, The Gap Band, The Gap Band.
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.