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 Dominica and from Beijing.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Portland and Glasgow.
I'm losing my edge to the art-school Accra 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 1976 at the first Wire practice in a loft in Watford.
I was working on the theremin sounds with much patience.
I was there when Robert Palmer 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 Kayak to the grime kids.
I played it at the Hacienda.
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 Jawbox. All the underground hits.
All MDC tracks. I heard you have a vinyl of every Masters at Work record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays record.
I hear that you and your band have sold your linndrum and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flipper,
The Grass Roots,
Johnny Osbourne,
Fugazi,
Ultravox,
Pulsallama,
The Selecter,
Sparks,
A Certain Ratio,
The Music Machine,
Alphaville,
The Searchers,
Simply Red,
Mars,
Hoover,
H. Thieme,
Royal Trux,
The Electric Prunes,
Gerry Rafferty,
Pantytec,
Chrome,
Lee Hazlewood,
Ten City,
Wally Richardson,
Buzzcocks,
Henry Cow,
Sixth Finger,
De La Soul & Jungle Brothers,
Sound Behaviour,
Unrelated Segments,
Liaisons Dangereuses,
Colin Newman,
Vainqueur,
The Standells,
Morten Harket,
Terry Callier,
Jandek,
MC5,
Public Image Ltd.,
Rhythm & Sound,
Siouxsie and the Banshees,
The Residents,
Bill Near,
Tears for Fears,
Rapeman,
Metal Thangz,
Motorama,
Interpol,
Ludus,
June Days,
The Men They Couldn't Hang,
Marshall Jefferson,
Marine Girls,
Stetsasonic,
Electric Light Orchestra,
Tropical Tobacco,
John Foxx,
Moby Grape,
Deadbeat, Deadbeat, Deadbeat, Deadbeat.
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.