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 Philippines and from Lyon.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Madrid and Woodstock.
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 guitar 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 Selector Dub Narcotic 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 Scrapy. All the underground hits.
All Tomorrow tracks. I heard you have a vinyl of every Scion record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear that you and your band have sold your guitar 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?
Chris Corsano,
The Moody Blues,
La Düsseldorf,
Sexual Harrassment,
Radiopuhelimet,
Johnny Clarke,
Supertramp,
Easy Going,
Glambeats Corp.,
Charles Mingus,
R.M.O.,
Scion,
10cc,
Guru Guru,
Lafayette Afro Rock Band,
Notorious Big And Bone Thugs,
Gil Scott-Heron and Jamie xx,
The Stooges,
Bob Dylan,
Althea and Donna,
Darondo,
Sällskapet,
Quando Quango,
The Music Machine,
Television,
Q65,
Tears for Fears,
K-Klass,
Gabor Szabo,
Dorothy Ashby,
Oneida,
Godley & Creme,
Masters at Work,
Marcia Griffiths,
Eurythmics,
OOIOO,
A Certain Ratio,
Excepter,
Super Lover Cee & Casanova Rud,
Grey Daturas,
Bill Near,
Bad Manners,
the Association,
Sound Behaviour,
Gerry Rafferty,
Lebanon Hanover,
Black Sheep,
Rekid,
The Flesh Eaters,
Harmonia,
Graham Central Station,
Kas Product,
Swell Maps,
Adolescents,
Electric Prunes,
Negative Approach,
Bush Tetras,
Hoover,
Massinfluence,
Mo-Dettes, Mo-Dettes, Mo-Dettes, Mo-Dettes.
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.