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 Benin and from Edmonton.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Milan and Stockholm.
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 güiro 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 The Moleskins to the electroclash 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 The Gories. All the underground hits.
All Make Up tracks. I heard you have a vinyl of every K-Klass record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Men They Couldn't Hang record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cameo,
The Knickerbockers,
A Certain Ratio,
Hasil Adkins,
48th St. Collective,
Agitation Free,
Avey Tare's Slasher Flicks,
Nirvana,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Deutsch Amerikanische Freundschaft,
The Remains,
The Cure,
Drexciya,
Gang Gang Dance,
Q and Not U,
The Mummies,
Terrestrial Tones,
Make Up,
Godley & Creme,
Hoover,
The Pretty Things,
DJ Style,
Swell Maps,
Isaac Hayes,
Amazonics,
The Misunderstood,
Röyhkä ja Rättö ja Lehtisalo,
Vaughan Mason & Crew,
Shoche,
Crime,
Jacques Brel,
Alphaville,
Bauhaus,
DNA,
The Flesh Eaters,
Yellowson,
Malaria!,
Cecil Taylor,
Marshall Jefferson,
Bobbi Humphrey,
Electric Light Orchestra,
Art Ensemble Of Chicago,
Robert Wyatt,
Fluxion,
Visage,
Flipper,
The Fortunes,
The Cowsills,
Tres Demented,
Rod Modell,
Skaos,
Fear,
David McCallum,
Pylon,
the Association,
Technova,
The Cramps,
Mary Jane Girls,
The Last Poets,
Babytalk,
Be Bop Deluxe,
Pierre Henry,
Barclay James Harvest, Barclay James Harvest, Barclay James Harvest, Barclay James Harvest.
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.