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 Tonga and from Lille.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Taipei and Mexico City.
I'm losing my edge to the art-school Stockholm 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 mellotron 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 Terror Squad Feat. Camron to the grime kids.
I played it at the Crocodile.
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 T.S.O.L.. All the underground hits.
All La Düsseldorf tracks. I heard you have a vinyl of every Lungfish 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 '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gabor Szabo,
Gil Scott Heron,
Ponytail,
Dorothy Ashby,
The Beau Brummels,
8 Eyed Spy,
Rahsaan Roland Kirk,
Rhythm & Sound,
Matthew Halsall,
Crash Course in Science,
Parry Music,
Q and Not U,
The Saints,
Kauko Röyhkä ja Narttu,
Moebius,
John Lydon,
The Zeros,
Anthony Braxton,
Pierre Henry,
Saccharine Trust,
Isaac Hayes,
The Barracudas,
Gong,
Junior Murvin,
Eli Mardock,
The Mummies,
Quando Quango,
Radio Birdman,
Rufus Thomas,
The Names,
Cymande,
The Vogues,
Marc Almond,
Spandau Ballet,
Steve Hackett,
48th St. Collective,
Joyce Sims,
Sister Nancy,
The Standells,
Stereo Dub,
The Sound,
Mars,
The Motions,
Tears for Fears,
X-Ray Spex,
Organ,
Mantronix,
Mandrill,
Ohio Players,
Flash Fearless,
Wally Richardson,
Loose Ends,
Fugazi,
Rapeman,
Japan,
Average White Band,
Cheater Slicks,
Cameo,
The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band.
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.