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 Bahrain and from New York.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Spokane and Mexico City.
I'm losing my edge to the art-school Edmonton 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 güiro 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 Minutemen to the grime 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 Gang Green. All the underground hits.
All Yazoo tracks. I heard you have a vinyl of every Second Layer 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 '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Gong record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Lou Reed & Metallica,
Scott Walker,
Joyce Sims,
Lyres,
Magazine,
Buzzcocks,
The Move,
Pantaleimon,
The Chocolate Watch Band,
Terrestrial Tones,
Ultimate Spinach,
The Motions,
The New Christs,
Al Stewart,
Leonard Cohen,
Harpers Bizarre,
Maleditus Sound,
Johnny Clarke,
Lou Christie,
Soft Cell,
Black Moon,
Barbara Tucker,
Wasted Youth,
Delon & Dalcan,
Q65,
Slave,
L. Decosne,
The Slackers,
Eden Ahbez,
The Kinks,
Yellowson,
The Skatalites,
Lower 48,
Soulsonic Force,
Bad Manners,
The Buckinghams,
Ossler,
Gil Scott Heron,
Steve Hackett,
Public Image Ltd.,
Drexciya,
Letta Mbulu,
Blossom Toes,
Sonic Youth,
Gang Starr,
The Residents,
Hashim,
China Crisis,
The Techniques,
Wings,
Negative Approach,
The Smoke,
Procol Harum,
The Birthday Party,
Byron Stingily,
Avey Tare,
Sällskapet,
Red Lorry Yellow Lorry,
JFA, JFA, JFA, JFA.
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.