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 Albania and from Accra.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Houston and Salvador.
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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the chamberlin 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 The Trojans to the electroclash kids.
I played it at the Troubador.
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 Das Ding. All the underground hits.
All Don Cherry tracks. I heard you have a vinyl of every Neil Young 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 '70s.
I hear you're buying an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Sunsets and Hearts record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alphaville,
Avey Tare,
Desert Stars,
Soulsonic Force,
Byron Stingily,
Tears for Fears,
Main Source,
Be Bop Deluxe,
Joe Finger,
Trumans Water,
Ludus,
Soul II Soul,
Heavy D & The Boyz,
Bluetip,
David Bowie,
Masters at Work,
Dorothy Ashby,
Danielle Patucci,
The Cosmic Jokers,
B.T. Express,
The J.B.'s,
Steve Hackett,
Gregory Isaacs,
Joensuu 1685,
Rotary Connection,
K-Klass,
The Chocolate Watch Band,
Flamin' Groovies,
Big Daddy Kane,
Echo & the Bunnymen,
Yazoo,
Yaz,
Joyce Sims,
Judy Mowatt,
Barbara Tucker,
Eddi Front,
Nick Cave & The Bad Seeds,
the Bar-Kays,
The Saints,
Hardrive,
Throbbing Gristle,
Marvin Gaye,
Sällskapet,
Lightning Bolt,
Terrestrial Tones,
De La Soul & Jungle Brothers,
This Heat,
Qualms,
Little Man,
The Zeros,
Magazine,
Los Fastidios,
Q and Not U,
Mr. Review,
Heaven 17,
The Monochrome Set,
Gian Franco Pienzio,
X-Ray Spex,
The Stooges,
Amon Düül,
A Certain Ratio,
John Cale, John Cale, John Cale, John Cale.
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.