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 Saudi Arabia and from Glasgow.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Lyon and Lagos.
I'm losing my edge to the art-school Copenhagen 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 sitar 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 The Stooges to the jazz kids.
I played it at the Roxy.
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 Interpol. All the underground hits.
All Rhythim Is Rhythim tracks. I heard you have a vinyl of every Isaac Hayes record on German import.
I heard that you have a white label of every seminal electroclash 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 chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Jacques Brel record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Junior Murvin,
The Sound,
Max Romeo,
Ultramagnetic MC's,
Peter and Kerry,
Niagra,
Lonnie Liston Smith,
It's A Beautiful Day,
Basic Channel,
Glenn Branca,
Jerry's Kids,
Wally Richardson,
Little Man,
Siouxsie and the Banshees,
Eden Ahbez,
Alice Coltrane,
The Walker Brothers,
Minutemen,
Roger Hodgson,
Qualms,
The Wake,
Soulsonic Force,
Warren Ellis,
Godley & Creme,
The Martian,
Q65,
Suicide,
Don Cherry,
Flash Fearless,
Can,
Stetsasonic,
X-102,
Orchestral Manoeuvres in the Dark,
Sister Nancy,
Sällskapet,
The Alarm Clocks,
Kerrie Biddell,
the Soft Cell,
Kings Of Tomorrow,
Bill Wells,
Scion,
Swans,
ABC,
Kevin Saunderson,
Tubeway Army,
The Durutti Column,
Jesper Dahlback,
Amon Düül,
Negative Approach,
Morten Harket,
Roxy Music,
Absolute Body Control,
David Axelrod,
Kango’s Stein Massive,
Interpol,
Pagans,
Steve Hackett,
Das Ding,
Skaos,
Vladislav Delay,
Index,
Peter Gordon & Love of Life Orchestra,
The Move,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.