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 Colombia and from Salvador.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Stockholm and Cairo.
I'm losing my edge to the art-school Accra 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 clarinet sounds with much patience.
I was there when Lou Reed 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 Flash Fearless to the funk 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 Matthew Halsall. All the underground hits.
All Barry Ungar tracks. I heard you have a vinyl of every Warsaw 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 '60s cut and another box set from the '90s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Kenny Larkin record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Depeche Mode,
Liliput,
the Bar-Kays,
Bluetip,
Pussy Galore,
Unwound,
Main Source,
Deepchord,
Steve Hackett,
Black Sheep,
Ronnie Foster,
Lyres,
Bill Wells,
Glambeats Corp.,
Bronski Beat,
The Raincoats,
Sarah Menescal,
Stereo Dub,
Joy Division,
Black Flag,
Amon Düül,
Altered Images,
Gil Scott-Heron and Jamie xx,
Jesper Dahlbäck,
The Saints,
The Skatalites,
Accadde A,
Red Lorry Yellow Lorry,
Nik Kershaw,
Japan,
Eric B and Rakim,
Mantronix,
The Golliwogs,
E-Dancer,
The Music Machine,
The Techniques,
Terrestrial Tones,
Porter Ricks,
The Walker Brothers,
Iggy Pop,
Bobby Sherman,
Darondo,
Organ,
Lou Reed,
Camouflage,
EPMD,
Cal Tjader,
London Community Gospel Choir,
Bobby Byrd,
The Young Rascals,
Maleditus Sound,
Ultimate Spinach,
Crooked Eye,
Siglo XX,
Drive Like Jehu,
T. Rex,
Joensuu 1685,
Guru Guru,
The Monks,
Justin Hinds & The Dominoes,
Slick Rick,
Susan Cadogan,
Animal Collective,
The Cramps, The Cramps, The Cramps, The Cramps.
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.