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 Albania 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 Taipei and Bologna.
I'm losing my edge to the art-school Tehran 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 1973 at the first Television practice in a loft in New York.
I was working on the organ 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 Sugar Minott to the electroclash kids.
I played it at the Astoria.
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 Gregory Isaacs. All the underground hits.
All Minor Threat tracks. I heard you have a vinyl of every Laurel Aitken record on German import.
I heard that you have a white label of every seminal electroclash 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 spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bizarre Inc.,
Johnny Osbourne,
Bobby Hutcherson,
JFA,
Pet Shop Boys,
Lou Christie,
Mary Jane Girls,
The Dead C,
Whodini,
Flash Fearless,
Pharoah Sanders,
Kurtis Blow,
The Slits,
Rosa Yemen,
Kango’s Stein Massive,
MC5,
Saccharine Trust,
the Slits,
UT,
Sticky Fingaz feat. Raekwon,
Ossler,
Surgeon,
Tubeway Army,
The Monks,
Yazoo,
Iggy Pop,
Yaz,
Motorama,
Fear,
Ralphi Rosario,
The Pretty Things,
T. Rex,
Bauhaus,
Sällskapet,
Kerrie Biddell,
Soul II Soul,
The Names,
The Blues Magoos,
Y Pants,
Blancmange,
Hoover,
The Angels of Light,
Nik Kershaw,
The Gun Club,
Sun Ra Arkestra,
Subhumans,
Manfred Mann's Earth Band,
The Remains,
Joe Finger,
Beasts of Bourbon,
10cc,
Kayak,
Heavy D & The Boyz,
Strawberry Alarm Clock,
Cabaret Voltaire,
Pierre Henry,
Quando Quango,
Mandrill,
The Cosmic Jokers,
Quantec,
Warren Ellis, Warren Ellis, Warren Ellis, Warren Ellis.
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.