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 Costa Rica and from Mexico City.
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 1967 to 1971.
I'm losing my edge.
To all the kids in New York and Milan.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the guitar 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 New Order to the funk 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 Kerri Chandler. All the underground hits.
All The Invisible tracks. I heard you have a vinyl of every DJ Sneak 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 '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your theremin and bought a guitar.
I hear that you and your band have sold your guitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joyce Sims,
Grandmaster Flash,
Letta Mbulu,
A Certain Ratio,
Surgeon,
Dark Day,
Y Pants,
Interpol,
Dorothy Ashby,
The Seeds,
The Fuzztones,
Kevin Saunderson,
The Evens,
The Misunderstood,
Janne Schatter,
Joe Finger,
Robert Wyatt,
The Litter,
The American Breed,
Blancmange,
Dennis Brown,
Donald Byrd,
Roxy Music,
Crash Course in Science,
The Cure,
Dead Boys,
Soft Machine,
Soul Sonic Force,
Theoretical Girls,
Ultravox,
Average White Band,
Crispian St. Peters,
Susan Cadogan,
ABBA,
Ultra Naté,
The Jesus and Mary Chain,
Massinfluence,
Procol Harum,
Negative Approach,
Supertramp,
Marc Romboy vs. Booka Shade,
Ten City,
Sixth Finger,
Monks,
Tres Demented,
Lalo Schifrin,
Joe Smooth,
Young Marble Giants,
Marshall Jefferson,
Basic Channel,
Pussy Galore,
Organ,
Steve Hackett,
Camberwell Now,
John Holt,
The Young Rascals,
Gary Puckett & The Union Gap,
Harpers Bizarre,
Second Layer,
Zapp,
Sonic Youth,
Darondo,
Crooked Eye, Crooked Eye, Crooked Eye, Crooked Eye.
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.