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 Cambodia and from Beijing.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1972.
I'm losing my edge.
To all the kids in Winnipeg and Paris.
I'm losing my edge to the art-school Tehran 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 1965 at the first Beefheart practice in a loft in Lancaster.
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 Faust to the disco kids.
I played it at the Troubador.
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 Fugazi. All the underground hits.
All Deadbeat tracks. I heard you have a vinyl of every Suburban Knight 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 '80s cut and another box set from the '80s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Technova record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
The Knickerbockers,
Young Marble Giants,
Tommy Roe,
Spoonie Gee,
Crispy Ambulance,
Lou Christie,
Con Funk Shun,
David McCallum,
The Birthday Party,
Robert Görl,
Kerri Chandler,
Sly & The Family Stone,
The Smoke,
The Star Department,
Deepchord,
Marvin Gaye,
X-Ray Spex,
Man Parrish,
The Royal Family And The Poor,
Angry Samoans,
Notorious BIG live in Amsterdam,
Basic Channel,
Dark Day,
London Community Gospel Choir,
Sam Rivers,
Grauzone,
Be Bop Deluxe,
John Lydon,
Animal Collective,
Simply Red,
Reuben Wilson,
The Buckinghams,
Underground Resistance,
48th St. Collective,
Andrew Hill,
Q and Not U,
Traffic Nightmare,
Sparks,
OOIOO,
The Shadows of Knight,
Pete Rock & C.L. Smooth,
The Fall,
Pantytec,
Fluxion,
Oneida,
The Slits,
Gang Gang Dance,
Section 25,
Alton Ellis,
Archie Shepp,
Flamin' Groovies,
Banda Bassotti,
Jacques Brel,
Avey Tare's Slasher Flicks,
The Blues Magoos,
Terry Callier,
The Dirtbombs,
Suburban Knight,
New Order,
Bobby Womack,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.