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 Azerbaijan and from Tehran.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Glasgow and Columbus.
I'm losing my edge to the art-school Manchester 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 guitar 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 Wighnomy Brothers & Robag Wruhme to the funk kids.
I played it at the Astoria.
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 Cameo tracks. I heard you have a vinyl of every Absolute Body Control 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 '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Kas Product record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Al Stewart,
James Chance & The Contortions,
Scan 7,
Pussy Galore,
Roger Hodgson,
Slave,
Delta 5,
Surgeon,
Alton Ellis,
Brothers Johnson,
Royal Trux,
Janne Schatter,
Gong,
Sonny Sharrock,
Marine Girls,
Marc Almond,
The Wake,
Kauko Röyhkä ja Narttu,
Marshall Jefferson,
Warren Ellis,
The Busters,
Ohio Players,
Archie Shepp,
Chris Corsano,
Tim Buckley,
Man Parrish,
PIL,
Suburban Knight,
Be Bop Deluxe,
Desert Stars,
EPMD,
The Detroit Cobras,
F. McDonald,
Tubeway Army,
Terrestrial Tones,
The Human League,
Tres Demented,
Yellowson,
Soul II Soul,
Warsaw,
Barrington Levy,
Gary Puckett & The Union Gap,
Nils Olav,
Zero Boys,
Arcadia,
Drive Like Jehu,
Girls At Our Best!,
Byron Stingily,
Kings Of Tomorrow,
Sight & Sound,
Groovy Waters,
Howard Jones,
Interpol,
Television,
Basic Channel,
Rod Modell,
Buzzcocks,
Kevin Saunderson,
Avey Tare & Kría Brekkan,
Letta Mbulu,
Public Image Ltd.,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.