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 Mauritania and from Mumbai.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Toronto and Portland.
I'm losing my edge to the art-school Hong Kong 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 snare sounds with much patience.
I was there when Robert Palmer 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 Barry Ungar to the funk kids.
I played it at Cafe Wha.
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 Selector Dub Narcotic. All the underground hits.
All Mo-Dettes tracks. I heard you have a vinyl of every Fela Kuti record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a 808 and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Tubeway Army record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Offenders,
The Names,
Aloha Tigers,
Groovy Waters,
The Trojans,
Harry Pussy,
James White and The Blacks,
Grauzone,
Alice Coltrane,
The West Coast Pop Art Experimental Band,
Alton Ellis,
Gang Green,
The Sound,
Sad Lovers and Giants,
The Barracudas,
Lakeside,
Schoolly D,
Livin' Joy,
Scrapy,
ABBA,
Fat Boys,
Camron Feat. Jay Z And Juelz,
The Walker Brothers,
Glambeats Corp.,
Lou Reed & Metallica,
Fugazi,
Brick,
Vladislav Delay,
The Gun Club,
Hashim,
Severed Heads,
Siglo XX,
The Invisible,
The Knickerbockers,
Ohio Players,
Dave Gahan,
Jesper Dahlback,
Joy Division,
La Düsseldorf,
Das Ding,
The Mojo Men,
The Moody Blues,
Lebanon Hanover,
The Black Dice,
Sällskapet,
Gil Scott Heron,
Blossom Toes,
Arab on Radar,
Rowland S Howard / Lydia Lunch,
Avey Tare,
Janne Schatter,
The Pop Group,
Faust,
Neil Young & Crazy Horse,
B.T. Express,
Max Romeo,
Moss Icon,
Rhythm & Sound,
Glenn Branca,
London Community Gospel Choir,
Lou Christie,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.