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 Hungary and from Lagos.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Salvador and Bologna.
I'm losing my edge to the art-school Woodstock 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator 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 Joe Smooth to the dance kids.
I played it at the Hacienda.
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 Metal Thangz. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every Bill Near record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Thee Headcoats record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & John Cale,
Scientists,
Crooked Eye,
The Monks,
The J.B.'s,
Richard Hell and the Voidoids,
Spandau Ballet,
The West Coast Pop Art Experimental Band,
Fifty Foot Hose,
The Toasters,
Bauhaus,
John Lydon,
Jacques Brel,
Minor Threat,
H. Thieme,
Letta Mbulu,
Country Teasers,
Lou Reed & Metallica,
Davy DMX,
Soul II Soul,
Magazine,
Crime,
The Doobie Brothers,
Aswad,
Slick Rick,
Jeff Mills,
The Alarm Clocks,
Subhumans,
Andrew Ashong & Theo Parrish,
Pantytec,
Moby Grape,
Soft Machine,
Erykah Badu,
Lou Christie,
Joe Finger,
Chris & Cosey,
Sun Ra,
Public Enemy,
Anakelly,
Red Lorry Yellow Lorry,
Stiv Bators,
Tomorrow,
The Victims,
Sam Rivers,
X-Ray Spex,
Magma,
The Associates,
Altered Images,
Dawn Penn,
Kenny Larkin,
Louis and Bebe Barron,
Electric Light Orchestra,
Gong,
Bobby Byrd,
Basic Channel,
Whodini,
the Slits,
Bang On A Can,
Todd Rundgren,
Chrome,
The Names, The Names, The Names, The Names.
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.