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 Poland and from Johannesburg.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1978.
I'm losing my edge.
To all the kids in Houston and Lagos.
I'm losing my edge to the art-school London 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 mellotron sounds with much patience.
I was there when Tom Verlaine 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 John Lydon to the grunge kids.
I played it at Trash.
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 Lonnie Liston Smith. All the underground hits.
All Monks tracks. I heard you have a vinyl of every Sixth Finger record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlbäck,
Easy Going,
Sun Ra,
This Heat,
Agitation Free,
Joe Smooth,
The Evens,
Colin Newman,
Brick,
Radio Birdman,
Whodini,
The Offenders,
Red Lorry Yellow Lorry,
Donald Byrd,
Terrestrial Tones,
Peter Gordon & Love of Life Orchestra,
The Black Dice,
John Lydon,
Joy Division,
Michelle Simonal,
Visionaries,LMNO, T- Love & Iriscience,
Visage,
Aaron Thompson,
Rites of Spring,
Spandau Ballet,
Chris & Cosey,
Scan 7,
Letta Mbulu,
Trumans Water,
the Swans,
Slave,
Television Personalities,
The Stooges,
Tom Boy,
Tomorrow,
Duran Duran,
The Sound,
Lou Reed & John Cale,
Girls At Our Best!,
Pussy Galore,
Soft Cell,
The Martian,
Ronnie Foster,
Leonard Cohen,
Juan Atkins,
Avey Tare,
L. Decosne,
Bobbi Humphrey,
Sunsets and Hearts,
Gang Green,
Scrapy,
Lou Christie,
Stockholm Monsters,
Idris Muhammad,
Hot Snakes,
Cecil Taylor,
Bang On A Can,
Simply Red,
Moby Grape,
Supertramp,
Tim Buckley,
The Five Americans,
The Count Five,
Faraquet, Faraquet, Faraquet, Faraquet.
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.