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 Bosnia Herzegovina and from Copenhagen.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1970.
I'm losing my edge.
To all the kids in Bologna and Paris.
I'm losing my edge to the art-school New York 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 synthesizer 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 Simply Red to the techno 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 Hoover. All the underground hits.
All Avey Tare tracks. I heard you have a vinyl of every Funkadelic record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Faraquet record.
I hear that you and your band have sold your güiro and bought a theremin.
I hear that you and your band have sold your theremin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Star Department,
the Association,
Ash Ra Tempel,
Joyce Sims,
The Fire Engines,
Wire,
Alton Ellis,
Visionaries,LMNO, T- Love & Iriscience,
Lou Christie,
Youth Brigade,
Jandek,
Visage,
Sister Nancy,
Henry Cow,
Harpers Bizarre,
Todd Terry,
Neil Young & Crazy Horse,
Public Enemy,
June Days,
Piero Umiliani,
Flamin' Groovies,
Fifty Foot Hose,
Oneida,
Funky Four + One,
Marine Girls,
FM Einheit,
Byron Stingily,
Kool G Rap & DJ Polo,
The New Christs,
Grey Daturas,
Scion,
Janne Schatter,
Black Bananas,
The Durutti Column,
Ohio Players,
Monks,
The Dirtbombs,
The Cowsills,
Ralphi Rosario,
Connie Case,
Audionom,
The Fortunes,
Magma,
Robert Hood,
Soft Machine,
Strawberry Alarm Clock,
Grandmaster Flash and the Furious Five,
Qualms,
Simply Red,
Arcadia,
Pantytec,
Ornette Coleman,
The Seeds,
Schoolly D,
Kool Moe Dee,
Shoche,
Albert Ayler,
Ultravox,
Morten Harket,
Jacob Miller,
Brick,
Echospace,
Cecil Taylor, Cecil Taylor, Cecil Taylor, Cecil Taylor.
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.