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 Bahamas and from Woodstock.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1973.
I'm losing my edge.
To all the kids in Jakarta and Tokyo.
I'm losing my edge to the art-school London 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 organ sounds with much patience.
I was there when Tom Verlaine 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 JFA to the crunk kids.
I played it at the Roxy.
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 Eve St. Jones. All the underground hits.
All The Grass Roots tracks. I heard you have a vinyl of every Glambeats Corp. 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 '80s cut and another box set from the '90s.
I hear you're buying an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Wake record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Japan,
Rosa Yemen,
Colin Newman,
The Neon Judgement,
Isaac Hayes,
Skaos,
Gary Puckett & The Union Gap,
Clear Light,
Bobby Sherman,
The Evens,
Ultravox,
Barrington Levy,
OOIOO,
Pylon,
Nirvana,
Animal Collective,
The Birthday Party,
Man Parrish,
the Bar-Kays,
Terrestrial Tones,
Wally Richardson,
Bronski Beat,
Johnny Osbourne,
Bad Manners,
John Foxx,
Notorious BIG live in Amsterdam,
The Red Krayola,
Bill Near,
The Fall,
Pierre Henry,
Susan Cadogan,
Brand Nubian,
Drive Like Jehu,
Warren Ellis,
the Association,
Maurizio,
Erasure,
The Tremeloes,
Delon & Dalcan,
Ludus,
Eden Ahbez,
Be Bop Deluxe,
Saccharine Trust,
MDC,
Albert Ayler,
Hasil Adkins,
Kurtis Blow,
Pulsallama,
Can,
Nick Fraelich,
Metal Thangz,
Pantytec,
The Dave Clark Five,
Zapp,
Orchestral Manoeuvres in the Dark,
The Cramps,
Severed Heads,
The Move,
The Barracudas,
Suicide,
The Cosmic Jokers, The Cosmic Jokers, The Cosmic Jokers, The Cosmic Jokers.
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.