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 Guinea and from Toronto.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Stockholm and Stockholm.
I'm losing my edge to the art-school Madrid 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 sitar 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 MDC to the electroclash kids.
I played it at the Spitz.
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 Infiniti. All the underground hits.
All Warren Ellis tracks. I heard you have a vinyl of every the Association record on German import.
I heard that you have a white label of every seminal electroclash 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 sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Cal Tjader 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?
Pulsallama,
Archie Shepp,
Curtis Mayfield,
Marshall Jefferson,
Can,
Cabaret Voltaire,
the Fania All-Stars,
Parry Music,
Tom Boy,
Ohio Players,
CMW,
R.M.O.,
The Techniques,
KRS-One,
Ludus,
The Shadows of Knight,
Eve St. Jones,
Lou Reed & John Cale,
Dawn Penn,
Circle Jerks,
OOIOO,
Thinking Fellers Union Local 282,
Talk Talk,
Lindisfarne,
Freddie Wadling,
The Golliwogs,
David McCallum,
Eli Mardock,
Rod Modell,
Das Ding,
the Bar-Kays,
Pere Ubu,
The Birthday Party,
The Associates,
the Germs,
Minny Pops,
Black Bananas,
John Lydon,
Dual Sessions,
Arcadia,
Dead Boys,
DNA,
Animal Collective,
Michelle Simonal,
This Heat,
Roxy Music,
Delta 5,
Model 500,
Steve Hackett,
Sexual Harrassment,
Icehouse,
Bang On A Can,
Bobby Hutcherson,
Smog,
The West Coast Pop Art Experimental Band,
The Slackers,
Dorothy Ashby,
Camron Feat. Memphis Bleek And Beenie Seigel,
Boredoms,
Sällskapet,
The Sonics,
JFA,
Supertramp, Supertramp, Supertramp, Supertramp.
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.