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 Venezuela and from Manila.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Lille and Salvador.
I'm losing my edge to the art-school Hong Kong 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 chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Aaron Thompson to the electroclash kids.
I played it at the 40 Watt.
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 Basic Channel. All the underground hits.
All Grandmaster Flash and the Furious Five tracks. I heard you have a vinyl of every Dawn Penn record on German import.
I heard that you have a white label of every seminal rock 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 chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The J.B.'s record.
I hear that you and your band have sold your linndrum and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Machine,
The Moody Blues,
Wally Richardson,
Vainqueur,
Black Moon,
Barclay James Harvest,
Skaos,
The Dirtbombs,
The United States of America,
Faust,
Jesper Dahlback,
The Young Rascals,
Oneida,
Trumans Water,
Tommy Roe,
Pharaoh Sanders and the Fire Engines,
Gang Gang Dance,
Pantytec,
It's A Beautiful Day,
The Men They Couldn't Hang,
Fluxion,
Dr. Dre and Snoop Doggy Dog,
Fear,
Marvin Gaye,
Fort Wilson Riot,
Louis and Bebe Barron,
Flamin' Groovies,
Janne Schatter,
Moby Grape,
Absolute Body Control,
Quando Quango,
Freddie Wadling,
Minutemen,
The Fall,
Shuggie Otis,
Country Joe & The Fish,
Kool G Rap & DJ Polo,
Oppenheimer Analysis,
Sly & The Family Stone,
Animal Collective,
Wolf Eyes,
Mandrill,
The Sisters of Mercy,
Alphaville,
Stockholm Monsters,
the Bar-Kays,
World's Most,
Mars,
Public Enemy,
Boredoms,
Crispian St. Peters,
Ken Boothe,
China Crisis,
Flash Fearless,
Pagans,
One Last Wish,
The Cure,
Warsaw,
Cabaret Voltaire,
Ultimate Spinach,
John Holt, John Holt, John Holt, John Holt.
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.