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 Tajikistan and from Johannesburg.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Cairo.
I'm losing my edge to the art-school Portland 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 sitar 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 Magma to the techno kids.
I played it at Cafe Wha.
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 Stereo Dub. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every Ultra Naté record on German import.
I heard that you have a white label of every seminal punk 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 rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Rapeman record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Throbbing Gristle,
Eyeless In Gaza,
John Cale,
Neu!,
The Wake,
Marc Romboy vs. Booka Shade,
Hot Snakes,
Johnny Clarke,
Bronski Beat,
Los Fastidios,
Rhythm & Sound,
E-Dancer,
Half Japanese,
The Toasters,
Roy Ayers,
Suburban Knight,
Teenage Jesus and the Jerks,
Marmalade,
New York Dolls,
Adolescents,
Sugar Minott,
The Mighty Diamonds,
This Heat,
Ash Ra Tempel,
Camron Feat. Memphis Bleek And Beenie Seigel,
Whodini,
The Sound,
Barclay James Harvest,
Moss Icon,
Youth Brigade,
Desert Stars,
Lalo Schifrin,
Zero Boys,
Bang on a Can All-Stars,
Country Joe & The Fish,
The Men They Couldn't Hang,
Amon Düül,
Blancmange,
AZ,
Ten City,
David McCallum,
Prince Buster,
Lucky Dragons,
John Foxx,
These Immortal Souls,
Dead Boys,
Masters at Work,
Pussy Galore,
Grauzone,
Electric Prunes,
Reuben Wilson,
Stiv Bators,
The Happenings,
Mad Mike,
Gerry Rafferty,
Johnny Osbourne,
The Smiths,
Delon & Dalcan,
Camouflage,
Aswad,
Darondo,
Tubeway Army, Tubeway Army, Tubeway Army, Tubeway Army.
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.