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 Swaziland and from Mumbai.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Mexico City and Hong Kong.
I'm losing my edge to the art-school Spokane 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 Buzzcocks practice in a loft in Bolton.
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 The Detroit Cobras to the crunk kids.
I played it at the Crocodile.
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 These Immortal Souls. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every Stiv Bators record on German import.
I heard that you have a white label of every seminal jazz 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 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Delon & Dalcan record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
The Alarm Clocks,
The Fortunes,
Black Flag,
Blancmange,
Monks,
Lou Reed & John Cale,
Rahsaan Roland Kirk,
Orchestral Manoeuvres in the Dark,
Susan Cadogan,
Wally Richardson,
Y Pants,
Nik Kershaw,
The Selecter,
JFA,
The Happenings,
Young Marble Giants,
The Sisters of Mercy,
ABC,
John Cale,
Eve St. Jones,
Blake Baxter,
Lyres,
Brick,
Darondo,
The Jesus and Mary Chain,
Arcadia,
Roy Ayers,
Porter Ricks,
Larry & the Blue Notes,
Laurel Aitken,
Bronski Beat,
Johnny Osbourne,
Be Bop Deluxe,
Kerri Chandler,
Lebanon Hanover,
Anakelly,
Neu!,
Alice Coltrane,
The Doors,
Grey Daturas,
Gabor Szabo,
Toni Rubio,
Tom Boy,
The Mojo Men,
The Knickerbockers,
Max Romeo,
Pere Ubu,
Camron Feat. Memphis Bleek And Beenie Seigel,
Mars,
Chris & Cosey,
The Royal Family And The Poor,
Althea and Donna,
Mr. Review,
The Monochrome Set,
John Holt,
Kango’s Stein Massive,
Metal Thangz,
James Chance & The Contortions,
U.S. Maple, U.S. Maple, U.S. Maple, U.S. Maple.
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.