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 Czech Republic 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 1969 to 1972.
I'm losing my edge.
To all the kids in Tehran and Copenhagen.
I'm losing my edge to the art-school Manila 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 güiro sounds with much patience.
I was there when Nile Rodgers 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 Sight & Sound to the grunge 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 The Trojans. All the underground hits.
All Sam Rivers tracks. I heard you have a vinyl of every Marcia Griffiths 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 '70s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron 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?
Angry Samoans,
Minutemen,
Hardrive,
Bobby Sherman,
Nas,
Black Bananas,
Godley & Creme,
The Moleskins,
AZ,
Eric Dolphy,
Rahsaan Roland Kirk,
Echospace,
The Gladiators,
Accadde A,
Neil Young,
Johnny Clarke,
The West Coast Pop Art Experimental Band,
The Mummies,
Maleditus Sound,
Aaron Thompson,
UT,
kango's stein massive,
The Gap Band,
The Victims,
Derrick Morgan,
The Remains,
The Litter,
Agitation Free,
Drexciya,
Gabor Szabo,
Theoretical Girls,
The Dave Clark Five,
The Moody Blues,
X-101,
Quadrant,
Khruangbin,
Symarip,
Marvin Gaye,
Essential Logic,
Kauko Röyhkä ja Narttu,
Jacques Brel,
Manfred Mann's Earth Band,
Radio Birdman,
Ultramagnetic MC's,
Lizzy Mercier Descloux,
Rosa Yemen,
The Trojans,
Slick Rick,
Amon Düül II,
Yusef Lateef,
Albert Ayler,
Rapeman,
Visage,
Hashim,
Fear,
Andrew Ashong & Theo Parrish,
Louis and Bebe Barron,
Hoover,
Moebius,
Chrome,
The Doors, The Doors, The Doors, The Doors.
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.