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 Dominican Republic and from Mumbai.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Bremen and Hong Kong.
I'm losing my edge to the art-school Stockholm 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 clarinet 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 Nik Kershaw to the grime 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 London Community Gospel Choir. All the underground hits.
All Bush Tetras tracks. I heard you have a vinyl of every Radio Birdman record on German import.
I heard that you have a white label of every seminal disco 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 synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Stooges record.
I hear that you and your band have sold your 808 and bought a marimba.
I hear that you and your band have sold your marimba and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mad Mike,
Public Image Ltd.,
Eve St. Jones,
Cabaret Voltaire,
Bobbi Humphrey,
Orchestral Manoeuvres in the Dark,
Pere Ubu,
Tim Buckley,
Robert Wyatt,
Brick,
Jesper Dahlback,
The Shadows of Knight,
The Techniques,
Country Joe & The Fish,
Pharoah Sanders,
Eric Copeland,
Nik Kershaw,
Kaleidoscope,
Von Mondo,
Nils Olav,
The Slackers,
Eric Dolphy,
The Move,
Anakelly,
Black Pus,
The Toasters,
Boz Scaggs,
Bobby Byrd,
The United States of America,
Heavy D & The Boyz,
X-102,
Gang Gang Dance,
Ultramagnetic MC's,
Grandmaster Flash,
New York Dolls,
Sunsets and Hearts,
Ludus,
Janne Schatter,
Shoche,
R.M.O.,
Juan Atkins,
Dawn Penn,
Danielle Patucci,
A Certain Ratio,
The Five Americans,
Throbbing Gristle,
Morten Harket,
Davy DMX,
Deutsch Amerikanische Freundschaft,
Stockholm Monsters,
The Happenings,
the Normal,
The Gun Club,
The Saints,
Aural Exciters,
Rowland S Howard / Lydia Lunch,
48th St. Collective,
Subhumans,
Stiv Bators,
Kauko Röyhkä ja Narttu,
MC5,
Au Pairs,
Rod Modell,
Max Romeo, Max Romeo, Max Romeo, Max Romeo.
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.