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 Nicaragua and from Winnipeg.
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 1972.
I'm losing my edge.
To all the kids in Columbus and Jakarta.
I'm losing my edge to the art-school Sao Paulo 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the guitar 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 Soulsonic Force to the dance 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 David Axelrod. All the underground hits.
All Jerry Gold Smith tracks. I heard you have a vinyl of every Soft Machine 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 '50s cut and another box set from the '70s.
I hear you're buying a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Absolute Body Control,
Kerri Chandler,
Isaac Hayes,
Lyres,
Ultravox,
Liaisons Dangereuses,
Mission of Burma,
the Soft Cell,
X-Ray Spex,
Liliput,
One Last Wish,
Gil Scott Heron,
Barrington Levy,
DJ Style,
The Doors,
The Neon Judgement,
Aural Exciters,
Todd Rundgren,
Major Organ And The Adding Machine,
Lizzy Mercier Descloux,
The Men They Couldn't Hang,
Johnny Osbourne,
Inner City,
Lee Hazlewood,
CMW,
Maurizio,
Judy Mowatt,
The American Breed,
La Düsseldorf,
Idris Muhammad,
Max Romeo,
Los Fastidios,
Can,
Camouflage,
E-Dancer,
Rhythm & Sound,
Pantaleimon,
Visionaries,LMNO, T- Love & Iriscience,
The Smoke,
Lightning Bolt,
Mark Hollis,
Fort Wilson Riot,
Second Layer,
Stiv Bators,
Soft Machine,
Electric Light Orchestra,
Monolake,
The Fortunes,
Accadde A,
Underground Resistance,
The Busters,
Massinfluence,
Sugar Minott,
Chris Corsano,
The Monochrome Set,
Andrew Hill,
The Leaves,
The Litter,
Basic Channel,
Scan 7,
Pole,
Alice Coltrane,
the Sonics, the Sonics, the Sonics, the Sonics.
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.