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 Finland and from Johannesburg.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Paris and Stockholm.
I'm losing my edge to the art-school Portland 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the oboe sounds with much patience.
I was there when David Bowie 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 Deadbeat to the jazz kids.
I played it at the Astoria.
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 Index. All the underground hits.
All Be Bop Deluxe tracks. I heard you have a vinyl of every Lalo Schifrin record on German import.
I heard that you have a white label of every seminal punk 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 synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlback record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amazonics,
Public Enemy,
World's Most,
Symarip,
James White and The Blacks,
Ice-T,
Chrome,
Sad Lovers and Giants,
James Chance & The Contortions,
Deakin,
Rowland S Howard / Lydia Lunch,
Reuben Wilson,
Michelle Simonal,
Rites of Spring,
In Retrospect,
Hashim,
Eli Mardock,
Nation of Ulysses,
The Fire Engines,
Bobby Sherman,
Toni Rubio,
Hasil Adkins,
Johnny Osbourne,
The Golliwogs,
Ossler,
Leonard Cohen,
Gian Franco Pienzio,
Liliput,
Visionaries,LMNO, T- Love & Iriscience,
Boz Scaggs,
OOIOO,
The Wake,
Art Ensemble Of Chicago,
Fort Wilson Riot,
The Real Kids,
Alison Limerick,
Hot Snakes,
Chris Corsano,
Roxette,
Skaos,
Gregory Isaacs,
Jandek,
Crime,
Sonny Sharrock,
Lower 48,
48th St. Collective,
The Pretty Things,
Avey Tare's Slasher Flicks,
Althea and Donna,
Q and Not U,
the Association,
Lou Reed,
Gang Gang Dance,
Camberwell Now,
Gil Scott Heron,
New Order,
Ponytail,
Soft Cell,
Faust,
Bizarre Inc.,
One Last Wish,
Sun Ra Arkestra,
John Holt, John Holt, John Holt, John Holt.
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.