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 Rwanda and from Calgary.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Columbus and London.
I'm losing my edge to the art-school Jakarta 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 spring reverb 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 Malaria! to the techno kids.
I played it at the 40 Watt.
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 Big Daddy Kane. All the underground hits.
All Q and Not U tracks. I heard you have a vinyl of every Half Japanese record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Henry Cow,
Bush Tetras,
cv313,
the Normal,
E-Dancer,
Erykah Badu,
Terrestrial Tones,
Neu!,
kango's stein massive,
Ten City,
Bluetip,
Sam Rivers,
Cabaret Voltaire,
Minnie Riperton,
Throbbing Gristle,
Monks,
Barrington Levy,
JFA,
Kevin Saunderson,
The Fuzztones,
Johnny Osbourne,
Sly & The Family Stone,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Ossler,
Mandrill,
Lou Christie,
The Peanut Butter Conspiracy,
Lucky Dragons,
A Certain Ratio,
Black Sheep,
The Slits,
Sound Behaviour,
Bauhaus,
T. Rex,
Television,
New Order,
The Selecter,
Outsiders,
Jandek,
The Index,
Alison Limerick,
The Doors,
The Move,
In Retrospect,
Youth Brigade,
Brand Nubian,
DNA,
Chris Corsano,
Black Moon,
The Mighty Diamonds,
The Associates,
Rosa Yemen,
CMW,
Oppenheimer Analysis,
Scratch Acid,
Skarface,
Magma,
Nik Kershaw,
Rod Modell,
Bill Near,
Harry Pussy,
The Kinks,
Darondo, Darondo, Darondo, Darondo.
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.