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 Tuvalu and from Delhi.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Woodstock and Columbus.
I'm losing my edge to the art-school Houston 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 rhodes 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 Patti Smith to the rock kids.
I played it at the Crocodile.
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 Joyce Sims. All the underground hits.
All Outsiders tracks. I heard you have a vinyl of every Skriet record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Mad Mike record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Style,
Sun Ra Arkestra,
Adolescents,
Cymande,
Lebanon Hanover,
Wire,
Moss Icon,
June of 44,
Eric Copeland,
Alphaville,
The Pretty Things,
Sly & The Family Stone,
Ten City,
Sixth Finger,
Soul II Soul,
Barry Ungar,
Curtis Mayfield,
Crooked Eye,
The Smiths,
Stiv Bators,
Byron Stingily,
Marine Girls,
Easy Going,
Bush Tetras,
The Monks,
Kayak,
Skarface,
Don Cherry,
The Men They Couldn't Hang,
The Buckinghams,
Popol Vuh,
Marmalade,
Tears for Fears,
Reuben Wilson,
Bill Near,
Kerri Chandler,
New Order,
Anakelly,
X-Ray Spex,
The Count Five,
Vaughan Mason & Crew,
Ajijia Myrayebe,
Mandrill,
Unwound,
Scan 7,
Soft Cell,
Peter Gordon & Love of Life Orchestra,
Oppenheimer Analysis,
Nico,
Sparks,
Whodini,
Section 25,
Röyhkä ja Rättö ja Lehtisalo,
John Lydon,
ABC,
Tomorrow,
the Normal,
Simply Red,
Au Pairs,
Kaleidoscope,
The Red Krayola,
Panda Bear,
Drive Like Jehu, Drive Like Jehu, Drive Like Jehu, Drive Like Jehu.
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.