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 Egypt and from Mexico City.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Tehran and Accra.
I'm losing my edge to the art-school Beijing 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 Buzzcocks practice in a loft in Bolton.
I was working on the chamberlin 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 Porter Ricks to the disco kids.
I played it at CBGB's.
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 Bobby Hutcherson. All the underground hits.
All Rotary Connection tracks. I heard you have a vinyl of every Ultra Naté record on German import.
I heard that you have a white label of every seminal jazz 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 synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Yusef Lateef record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cramps,
Deakin,
Johnny Clarke,
Magma,
The New Christs,
A Flock of Seagulls,
Eli Mardock,
Franke,
James White and The Blacks,
48th St. Collective,
Symarip,
Ossler,
Scott Walker,
The Gladiators,
Smog,
The Toasters,
The Sonics,
Grauzone,
Can,
Silicon Teens,
Peter and Kerry,
Gil Scott-Heron and Jamie xx,
Massinfluence,
Thee Headcoats,
Derrick Morgan,
Letta Mbulu,
Y Pants,
The Trojans,
The Detroit Cobras,
Pharaoh Sanders and the Fire Engines,
The Vogues,
Procol Harum,
Scott Walker + Sunn O))),
Roxy Music,
Kas Product,
Zapp,
Public Image Ltd.,
Metal Thangz,
Skaos,
Marc Romboy vs. Booka Shade,
The Searchers,
Q65,
Röyhkä ja Rättö ja Lehtisalo,
Peter & Gordon,
Talk Talk,
Clear Light,
Sun Ra Arkestra,
Camron Feat. Memphis Bleek And Beenie Seigel,
Youth Brigade,
Aural Exciters,
Kerri Chandler,
The Busters,
Soft Machine,
Eric Copeland,
Glambeats Corp.,
The Skatalites,
Howard Jones,
Tears for Fears,
F. McDonald,
Neu!, Neu!, Neu!, Neu!.
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.