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 Dominican Republic and from Stockholm.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Portland and Tokyo.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the harpsichord sounds with much patience.
I was there when Tom Verlaine 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 United States of America to the punk 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 Ronan. All the underground hits.
All Susan Cadogan tracks. I heard you have a vinyl of every Funkadelic record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Traffic Nightmare record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
Leonard Cohen,
Radiopuhelimet,
Scion,
Lafayette Afro Rock Band,
Eurythmics,
Stetsasonic,
The Litter,
The Tremeloes,
Faust,
Black Flag,
Qualms,
Con Funk Shun,
Hot Snakes,
Sexual Harrassment,
Camouflage,
Circle Jerks,
Marc Almond,
EPMD,
the Association,
The Jesus and Mary Chain,
Simply Red,
Alison Limerick,
Agitation Free,
The Slits,
Crash Course in Science,
Aswad,
Peter Gordon & Love of Life Orchestra,
Lizzy Mercier Descloux,
Strawberry Alarm Clock,
Super Lover Cee & Casanova Rud,
Don Cherry,
The Monochrome Set,
Deadbeat,
the Normal,
Joyce Sims,
Oneida,
Country Teasers,
Roger Hodgson,
Groovy Waters,
The Blues Magoos,
DJ Sneak,
Radiohead,
DJ Style,
Sparks,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Bad Manners,
Interpol,
Los Fastidios,
Gerry Rafferty,
The Kinks,
Tim Buckley,
Scrapy,
Soft Machine,
The Raincoats,
Newcleus,
The Associates,
Pierre Henry,
Make Up,
the Fania All-Stars,
Section 25,
The Doors,
Pet Shop Boys,
Zero Boys, Zero Boys, Zero Boys, Zero Boys.
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.