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 Mexico 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 1971.
I'm losing my edge.
To all the kids in Cairo and Tokyo.
I'm losing my edge to the art-school Manila 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the clarinet sounds with much patience.
I was there when David Bowie 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 Deadbeat to the jazz kids.
I played it at Trash.
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 X-102. All the underground hits.
All Cameo tracks. I heard you have a vinyl of every Cabaret Voltaire record on German import.
I heard that you have a white label of every seminal jazz 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 a rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a K-Klass record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marine Girls,
Delon & Dalcan,
Half Japanese,
Dennis Brown,
Ronan,
The Searchers,
Stiv Bators,
Crispian St. Peters,
The Doors,
The Five Americans,
The Remains,
Intrusion,
Silicon Teens,
Little Man,
The Evens,
Peter and Kerry,
The Slits,
10cc,
Yusef Lateef,
Marshall Jefferson,
Ituana,
Larry & the Blue Notes,
Severed Heads,
Urselle,
The Slackers,
Arcadia,
Junior Murvin,
Boogie Down Productions,
Jacques Brel,
The Busters,
Oneida,
Red Lorry Yellow Lorry,
Radiopuhelimet,
Derrick Morgan,
Mission of Burma,
Icehouse,
The Happenings,
Bootsy Collins,
Duran Duran,
Heaven 17,
Jesper Dahlback,
T.S.O.L.,
The Names,
Tom Boy,
Gang Gang Dance,
Barbara Tucker,
Pharoah Sanders,
Marmalade,
Main Source,
Arthur Verocai,
The Fall,
The Moleskins,
The Red Krayola,
Johnny Clarke,
Joe Smooth,
The American Breed,
The Fortunes,
Suicide,
The Last Poets,
Sex Pistols,
Deakin,
Wings,
Nico, Nico, Nico, Nico.
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.