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 Tuvalu and from Spokane.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Salvador and Madrid.
I'm losing my edge to the art-school Lagos 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 arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Faraquet to the disco 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 Agitation Free. All the underground hits.
All Scrapy tracks. I heard you have a vinyl of every Junior Murvin record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Sherman,
The Standells,
The J.B.'s,
Scan 7,
Hashim,
Funkadelic,
Kings Of Tomorrow,
Notorious Big And Bone Thugs,
John Holt,
The Gap Band,
Livin' Joy,
Swans,
Symarip,
Rhythm & Sound,
Nico,
Thompson Twins,
Q and Not U,
Lower 48,
Delta 5,
the Association,
Pussy Galore,
Bobby Hutcherson,
Gang Gang Dance,
Röyhkä ja Rättö ja Lehtisalo,
UT,
Delon & Dalcan,
Arthur Verocai,
Rapeman,
Warsaw,
Carl Craig,
Sound Behaviour,
Fear,
Tres Demented,
The Zeros,
Mo-Dettes,
John Lydon,
The Leaves,
Wasted Youth,
The Music Machine,
Radiohead,
Trumans Water,
Flamin' Groovies,
Mad Mike,
Jerry's Kids,
Reagan Youth,
D'Angelo,
Heavy D & The Boyz,
Newcleus,
Excepter,
Traffic Nightmare,
Don Cherry,
Bad Manners,
Howard Jones,
The Misunderstood,
Suburban Knight,
The Peanut Butter Conspiracy,
Y Pants,
Grauzone,
Avey Tare,
Stiv Bators,
Throbbing Gristle,
Kas Product,
Depeche Mode,
Pharaoh Sanders and the Fire Engines,
Black Moon, Black Moon, Black Moon, Black Moon.
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.