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 Jamaica and from Jakarta.
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 Bremen and Toronto.
I'm losing my edge to the art-school Calgary 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 Buzzcocks practice in a loft in Bolton.
I was working on the clarinet sounds with much patience.
I was there when Lou Reed 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 Stereo Dub to the electroclash kids.
I played it at the Spitz.
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 Blake Baxter. All the underground hits.
All Dark Day tracks. I heard you have a vinyl of every Alison Limerick 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 chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Letta Mbulu,
Marc Almond,
Ultra Naté,
U.S. Maple,
Gil Scott-Heron and Jamie xx,
Symarip,
The Techniques,
Soul II Soul,
Lungfish,
Tim Buckley,
Urselle,
The Gladiators,
Surgeon,
Peter Gordon & Love of Life Orchestra,
Scion,
Rites of Spring,
The Saints,
DJ Style,
Silicon Teens,
Prince Buster,
Marc Romboy vs. Booka Shade,
This Heat,
The Royal Family And The Poor,
Niagra,
Ohio Players,
Cecil Taylor,
Arthur Verocai,
Public Enemy,
Scan 7,
Guru Guru,
John Holt,
Ponytail,
the Sonics,
Cluster,
The Cosmic Jokers,
Blake Baxter,
Cal Tjader,
Pulsallama,
Echospace,
Drexciya,
Orchestral Manoeuvres in the Dark,
New Order,
Matthew Halsall,
Eric Copeland,
The Raincoats,
Au Pairs,
New York Dolls,
The Standells,
Liaisons Dangereuses,
Pantaleimon,
Reuben Wilson,
Lou Reed & John Cale,
Cybotron,
Bauhaus,
Kango’s Stein Massive,
Hot Snakes,
Flipper,
Avey Tare's Slasher Flicks,
Mark Hollis,
Sister Nancy,
Hashim,
June Days,
Larry & the Blue Notes,
Joyce Sims, Joyce Sims, Joyce Sims, Joyce Sims.
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.