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 Slovenia and from Tokyo.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Lyon and Halifax.
I'm losing my edge to the art-school Johannesburg 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 David Bowie 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 Mandrill to the rock 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 Boz Scaggs. All the underground hits.
All Albert Ayler tracks. I heard you have a vinyl of every Jesper Dahlback 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 clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Birthday Party record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Loose Ends,
The Real Kids,
Josef K,
Alphaville,
Lou Reed & John Cale,
New York Dolls,
K-Klass,
The Men They Couldn't Hang,
Rod Modell,
Jandek,
Andrew Ashong & Theo Parrish,
The Names,
Andrew Hill,
Wasted Youth,
PIL,
Don Cherry,
The Pretty Things,
Jacques Brel,
Pulsallama,
Soul II Soul,
Nik Kershaw,
Sugar Minott,
Beasts of Bourbon,
It's A Beautiful Day,
Sällskapet,
Royal Trux,
Robert Hood,
The Motions,
Scrapy,
Skriet,
Mandrill,
The Associates,
ABBA,
Organ,
Rahsaan Roland Kirk,
Sun Ra Arkestra,
Grandmaster Flash,
Terrestrial Tones,
Kerrie Biddell,
Lou Reed,
Warsaw,
Lalann,
Rowland S Howard / Lydia Lunch,
The Monks,
Steve Hackett,
Slick Rick,
Brand Nubian,
Sandy B,
Ken Boothe,
Warren Ellis,
Notorious BIG live in Amsterdam,
FM Einheit,
David Axelrod,
Camron Feat. Memphis Bleek And Beenie Seigel,
Morten Harket,
Stereo Dub,
Lucky Dragons,
Interpol,
AZ,
Deakin, Deakin, Deakin, Deakin.
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.