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 Senegal and from Columbus.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Lyon and Salvador.
I'm losing my edge to the art-school Paris 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 chamberlin 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 Tommy Roe to the punk kids.
I played it at the 40 Watt.
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 Colin Newman. All the underground hits.
All Liaisons Dangereuses tracks. I heard you have a vinyl of every Idris Muhammad record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Second Layer record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ohio Players,
Tubeway Army,
Johnny Clarke,
Fela Kuti,
Suicide,
Oppenheimer Analysis,
Section 25,
Ronan,
X-102,
Ken Boothe,
R.M.O.,
Eric Copeland,
Ajijia Myrayebe,
Be Bop Deluxe,
Black Flag,
Ludus,
Dr. Dre and Snoop Doggy Dog,
Pole,
Wighnomy Brothers & Robag Wruhme,
Animal Collective,
The Music Machine,
X-101,
Neu!,
John Cale,
Bush Tetras,
June of 44,
Au Pairs,
Bronski Beat,
Scott Walker + Sunn O))),
Gong,
Infiniti,
Joey Negro,
Can,
Flash Fearless,
The Black Dice,
Andrew Hill,
Eurythmics,
Lower 48,
Roy Ayers Ubiquity,
Letta Mbulu,
the Bar-Kays,
Little Man,
Deutsch Amerikanische Freundschaft,
Janne Schatter,
Swell Maps,
Marshall Jefferson,
Freddie Wadling,
Morten Harket,
Sunsets and Hearts,
The Raincoats,
Dawn Penn,
Chris Corsano,
Subhumans,
The Happenings,
The Cure,
Banda Bassotti,
Quando Quango,
Fifty Foot Hose,
Minor Threat,
One Last Wish,
The Techniques,
In Retrospect,
Oneida, Oneida, Oneida, Oneida.
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.