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 Ecuador and from Manila.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Lagos.
I'm losing my edge to the art-school Glasgow 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the oboe sounds with much patience.
I was there when Lou Reed 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 Tears for Fears 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 Chrome. All the underground hits.
All The Gories tracks. I heard you have a vinyl of every Hot Snakes 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 '50s cut and another box set from the '70s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a John Holt record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Move,
R.M.O.,
Pussy Galore,
Black Flag,
Sugar Minott,
Spoonie Gee,
Amon Düül,
A Flock of Seagulls,
The Cramps,
Flash Fearless,
Eden Ahbez,
World's Most,
Darondo,
The Evens,
Nils Olav,
Electric Light Orchestra,
Judy Mowatt,
Harry Pussy,
Mandrill,
Jacob Miller,
Ultravox,
Gregory Isaacs,
Niagra,
Con Funk Shun,
Rufus Thomas,
Kas Product,
Toni Rubio,
James White and The Blacks,
Massinfluence,
The Fortunes,
Dual Sessions,
Ornette Coleman,
Stiv Bators,
ABC,
Minutemen,
The Moody Blues,
Moebius,
Eric B and Rakim,
Pantaleimon,
Howard Jones,
Sarah Menescal,
Johnny Osbourne,
The Mojo Men,
Boz Scaggs,
Flamin' Groovies,
Robert Hood,
The Jesus and Mary Chain,
Eve St. Jones,
Essential Logic,
The Blackbyrds,
Donald Byrd,
Model 500,
Moss Icon,
Notorious Big And Bone Thugs,
Derrick Morgan,
the Swans,
Oneida,
Easy Going,
London Community Gospel Choir,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Sticky Fingaz feat. Raekwon,
The Trojans, The Trojans, The Trojans, The Trojans.
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.