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 Equatorial Guinea and from Lyon.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Lyon and Beijing.
I'm losing my edge to the art-school Taipei 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 chamberlin 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 Pylon to the grunge 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 Jacques Brel. All the underground hits.
All Neil Young tracks. I heard you have a vinyl of every A Certain Ratio record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Siglo XX record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
D'Angelo,
Severed Heads,
Electric Light Orchestra,
John Coltrane,
Arcadia,
Altered Images,
The Toasters,
Eli Mardock,
Sällskapet,
Sister Nancy,
The Slits,
Eric Dolphy,
Jesper Dahlback,
John Foxx,
Jeff Lynne,
E-Dancer,
Skriet,
cv313,
Pierre Henry,
James Chance & The Contortions,
Yellowson,
Electric Prunes,
Easy Going,
Erykah Badu,
The Gap Band,
Tomorrow,
The Peanut Butter Conspiracy,
Wally Richardson,
B.T. Express,
Mark Hollis,
Yaz,
The Slackers,
Dawn Penn,
Underground Resistance,
Slave,
Sunsets and Hearts,
Bang On A Can,
Joey Negro,
Jeru the Damaja,
The Moleskins,
Rhythim Is Rhythim,
The Gladiators,
The Remains,
Franke,
Excepter,
Bill Wells,
Lou Reed,
The Pretty Things,
Nirvana,
Bobby Womack,
Aaron Thompson,
Camberwell Now,
Gil Scott Heron,
Intrusion,
Crispy Ambulance,
Country Teasers,
Scratch Acid,
Mars,
Can,
Pagans,
kango's stein massive,
Monks, Monks, Monks, Monks.
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.