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 El Salvador and from Philadelphia.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Manila and Madrid.
I'm losing my edge to the art-school Tokyo 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 güiro sounds with much patience.
I was there when Donald Fagen 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 Aural Exciters to the rock kids.
I played it at the Troubador.
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 Amon Düül II. All the underground hits.
All Pere Ubu tracks. I heard you have a vinyl of every Morten Harket 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 '50s cut and another box set from the '70s.
I hear you're buying a sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Standells 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?
Von Mondo,
Aaron Thompson,
John Foxx,
Connie Case,
Zero Boys,
Camron Feat. Jay Z And Juelz,
Arthur Verocai,
Kenny Larkin,
The Cure,
New Order,
Thee Headcoats,
Mark Hollis,
Depeche Mode,
Mandrill,
Lou Christie,
Fear,
48th St. Collective,
Faust,
Jerry Gold Smith,
John Coltrane,
Thinking Fellers Union Local 282,
Lou Reed & John Cale,
Jesper Dahlback,
Funkadelic,
Gil Scott Heron,
Kool G Rap & DJ Polo,
Public Enemy,
The Buckinghams,
Bootsy Collins,
June of 44,
Nas,
Main Source,
Beasts of Bourbon,
Aural Exciters,
Sparks,
Camron Feat. Memphis Bleek And Beenie Seigel,
Idris Muhammad,
Sexual Harrassment,
UT,
Harry Pussy,
Lee Hazlewood,
The Modern Lovers,
Sixth Finger,
The Real Kids,
Mo-Dettes,
Cecil Taylor,
Crooked Eye,
Scan 7,
The Names,
Red Lorry Yellow Lorry,
Kurtis Blow,
Lizzy Mercier Descloux,
Newcleus,
Soft Machine,
The Happenings,
Jeff Mills,
The Sisters of Mercy,
Massinfluence,
Heavy D & The Boyz,
Inner City,
James Chance & The Contortions,
Sunsets and Hearts,
Hot Snakes, Hot Snakes, Hot Snakes, Hot Snakes.
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.