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 Afghanistan and from Bremen.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1972.
I'm losing my edge.
To all the kids in Glasgow and Lille.
I'm losing my edge to the art-school Manchester 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 808 sounds with much patience.
I was there when Captain Beefheart 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 K-Klass to the techno 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 Minny Pops. All the underground hits.
All Cameo tracks. I heard you have a vinyl of every Stockholm Monsters record on German import.
I heard that you have a white label of every seminal grunge 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 spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Rites of Spring record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
It's A Beautiful Day,
Skriet,
EPMD,
The Golliwogs,
Crispy Ambulance,
The Blackbyrds,
The Names,
Zapp,
Deutsch Amerikanische Freundschaft,
Smog,
Lebanon Hanover,
Kerrie Biddell,
The Angels of Light,
Eric Dolphy,
Franke,
AZ,
Avey Tare & Kría Brekkan,
Art Ensemble Of Chicago,
John Cale,
the Bar-Kays,
Bauhaus,
Eurythmics,
The Invisible,
The Divine Comedy,
cv313,
The Gladiators,
The Remains,
Rufus Thomas,
Sugar Minott,
Yellowson,
The Doors,
Bobby Byrd,
Ossler,
The Move,
Dorothy Ashby,
Terrestrial Tones,
Moebius,
Mantronix,
The Litter,
Sun Ra Arkestra,
The Jesus and Mary Chain,
Adolescents,
Monolake,
Marmalade,
Jacques Brel,
Lindisfarne,
Bluetip,
One Last Wish,
Morten Harket,
New Age Steppers,
The Electric Prunes,
The Sisters of Mercy,
Duran Duran,
Isaac Hayes,
The Sound,
Janne Schatter,
Jesper Dahlbäck,
Dr. Dre and Snoop Doggy Dog,
Selector Dub Narcotic,
John Lydon,
Angels of Light & Akron/Family,
Neu!,
The Wake, The Wake, The Wake, The Wake.
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.