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 Macedonia and from Mumbai.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Woodstock.
I'm losing my edge to the art-school Milan 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the synthesizer 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 T. Rex to the grime 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 Dark Day. All the underground hits.
All The Index tracks. I heard you have a vinyl of every Aaron Thompson record on German import.
I heard that you have a white label of every seminal punk 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 an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Bill Wells record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Newcleus,
Al Stewart,
Neil Young,
Hashim,
Man Parrish,
Camberwell Now,
Banda Bassotti,
Gang Starr,
Ralphi Rosario,
Crash Course in Science,
Brick,
Unrelated Segments,
Marc Almond,
K-Klass,
The Shadows of Knight,
The Fuzztones,
The Count Five,
Icehouse,
Tommy Roe,
Yazoo,
Agent Orange,
Negative Approach,
Barrington Levy,
Colin Newman,
Sandy B,
Fatback Band,
The Young Rascals,
The Standells,
Yusef Lateef,
Motorama,
Richard Hell and the Voidoids,
Goldenarms,
Brand Nubian,
Ossler,
Eli Mardock,
Radio Birdman,
Mark Hollis,
John Foxx,
the Slits,
Lou Reed,
Model 500,
Radiohead,
Todd Terry,
Sly & The Family Stone,
Blake Baxter,
Notorious Big And Bone Thugs,
Glenn Branca,
Echo & the Bunnymen,
Bobby Sherman,
Maleditus Sound,
Rowland S Howard / Lydia Lunch,
Boredoms,
Nick Fraelich,
Leonard Cohen,
Altered Images,
Deutsch Amerikanische Freundschaft,
Subhumans,
The Alarm Clocks,
Marine Girls,
The Moody Blues,
Manfred Mann's Earth Band,
Gil Scott-Heron and Jamie xx,
Ohio Players,
Crispian St. Peters,
Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan.
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.