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 Czech Republic and from Tehran.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Manchester and Philadelphia.
I'm losing my edge to the art-school London 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 1976 at the first Chic practice in a loft in New York.
I was working on the linndrum 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 Neil Young & Crazy Horse to the rock kids.
I played it at the Roxy.
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 Stiv Bators. All the underground hits.
All The Stooges tracks. I heard you have a vinyl of every Rhythm & Sound 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 '50s cut and another box set from the '70s.
I hear you're buying an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Be Bop Deluxe record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arthur Verocai,
Sound Behaviour,
Theoretical Girls,
Fat Boys,
The Gun Club,
Heavy D & The Boyz,
Scratch Acid,
Jeff Lynne,
Lou Reed,
Das Ding,
Hasil Adkins,
The Saints,
T. Rex,
Byron Stingily,
The Men They Couldn't Hang,
Dawn Penn,
Sarah Menescal,
U.S. Maple,
Blake Baxter,
Neil Young & Crazy Horse,
Banda Bassotti,
PIL,
The Gap Band,
Kerri Chandler,
Peter & Gordon,
DJ Style,
the Human League,
The Residents,
Anthony Braxton,
Essential Logic,
Eve St. Jones,
Lyres,
Black Moon,
A Flock of Seagulls,
Harry Pussy,
Colin Newman,
Quantec,
The Fall,
The Wake,
The Moleskins,
Nation of Ulysses,
The Remains,
Cymande,
Surgeon,
Black Flag,
Joe Finger,
Minutemen,
Jerry's Kids,
Deadbeat,
Super Lover Cee & Casanova Rud,
The New Christs,
Warsaw,
Visionaries,LMNO, T- Love & Iriscience,
Grandmaster Flash,
The Cramps,
Gil Scott-Heron and Jamie xx,
Kaleidoscope,
Soft Cell,
Todd Rundgren,
The Alarm Clocks,
Jeff Mills,
The Trojans, The Trojans, The Trojans, The Trojans.
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.