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 Comoros and from Stockholm.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Stockholm and Edmonton.
I'm losing my edge to the art-school Lille 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 808 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 Buzzcocks to the rock kids.
I played it at the Spitz.
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 Deutsch Amerikanische Freundschaft. All the underground hits.
All John Holt tracks. I heard you have a vinyl of every Gong record on German import.
I heard that you have a white label of every seminal crunk 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 harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young & Crazy Horse record.
I hear that you and your band have sold your sitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scientists,
Mars,
The Shadows of Knight,
Fatback Band,
Michelle Simonal,
The Cosmic Jokers,
Moebius,
Moby Grape,
Pere Ubu,
Eddi Front,
Jesper Dahlbäck,
Delon & Dalcan,
Saccharine Trust,
The Dead C,
Quantec,
The Pop Group,
The Sound,
a-ha,
The Kinks,
Rekid,
The Move,
Lou Christie,
Visage,
The Monochrome Set,
Brand Nubian,
Carl Craig,
Lucky Dragons,
Basic Channel,
the Swans,
Soulsonic Force,
Faraquet,
Marshall Jefferson,
Echospace,
R.M.O.,
Scion,
Ituana,
48th St. Collective,
Arthur Verocai,
John Lydon,
Ohio Players,
Peter Gordon & Love of Life Orchestra,
The Star Department,
Joe Smooth,
X-101,
Mad Mike,
Jeff Lynne,
Bang on a Can All-Stars,
Eurythmics,
Minny Pops,
Crispian St. Peters,
Joyce Sims,
Brick,
Ossler,
Interpol,
Dead Boys,
Intrusion,
Minnie Riperton,
Bob Dylan,
the Association,
June of 44,
Can,
Swans,
Bad Manners, Bad Manners, Bad Manners, Bad Manners.
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.