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 Laos and from Tehran.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Delhi and Johannesburg.
I'm losing my edge to the art-school Tokyo 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 oboe 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 Mary Jane Girls to the electroclash kids.
I played it at the Hacienda.
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 Cluster. All the underground hits.
All Barclay James Harvest tracks. I heard you have a vinyl of every Black Moon record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Lou Christie record.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Japan,
Alton Ellis,
Visionaries,LMNO, T- Love & Iriscience,
Q65,
Heaven 17,
Prince Buster,
the Slits,
The Birthday Party,
Country Joe & The Fish,
Clear Light,
ABC,
Yellowson,
Minnie Riperton,
Marc Almond,
Radio Birdman,
The Fire Engines,
Panda Bear,
Rites of Spring,
Eyeless In Gaza,
The Victims,
Notorious Big And Bone Thugs,
This Heat,
Neil Young & Crazy Horse,
Terrestrial Tones,
Brand Nubian,
The Tremeloes,
Aaron Thompson,
The Trojans,
PIL,
Parry Music,
Unrelated Segments,
Michelle Simonal,
Judy Mowatt,
Essential Logic,
Camron Feat. Memphis Bleek And Beenie Seigel,
DJ Sneak,
Graham Central Station,
Whodini,
Barrington Levy,
Ice-T,
Steve Hackett,
the Bar-Kays,
Kayak,
Moby Grape,
Albert Ayler,
Rekid,
The Motions,
The Monks,
La Düsseldorf,
Wire,
Pharaoh Sanders and the Fire Engines,
Black Moon,
Ronan,
Ornette Coleman,
Sixth Finger,
The Star Department,
Severed Heads,
The Human League,
Glambeats Corp.,
Quadrant, Quadrant, Quadrant, Quadrant.
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.