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 Pakistan and from Seoul.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Shanghai and Seoul.
I'm losing my edge to the art-school Houston 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 rhodes sounds with much patience.
I was there when Robert Palmer 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 Country Joe & The Fish to the grunge 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 The Velvet Underground. All the underground hits.
All Funkadelic tracks. I heard you have a vinyl of every The Gladiators record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a This Heat record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doobie Brothers,
Half Japanese,
Deadbeat,
Amon Düül II,
Gastr Del Sol,
Ice-T,
Blancmange,
The Cramps,
Tommy Roe,
Cybotron,
Pantytec,
Cabaret Voltaire,
The Velvet Underground,
Marc Almond,
The Martian,
Steve Hackett,
Basic Channel,
the Swans,
Warsaw,
Los Fastidios,
Rites of Spring,
Kool G Rap & DJ Polo,
John Foxx,
The Five Americans,
Camberwell Now,
Lightning Bolt,
Cal Tjader,
Slave,
X-101,
Excepter,
Hardrive,
Jandek,
Barclay James Harvest,
Animal Collective,
Judy Mowatt,
Oneida,
Sister Nancy,
UT,
Rekid,
Ten City,
The Sisters of Mercy,
Ultimate Spinach,
Kings Of Tomorrow,
the Normal,
Mad Mike,
John Holt,
The Mighty Diamonds,
Eric Copeland,
Can,
DJ Sneak,
Sad Lovers and Giants,
Thinking Fellers Union Local 282,
Blake Baxter,
The Techniques,
The Fall,
B.T. Express,
June of 44,
The Gun Club,
Stereo Dub,
Byron Stingily,
The Residents,
The United States of America,
The Vogues, The Vogues, The Vogues, The Vogues.
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.