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 United Kingdom and from Toronto.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1973.
I'm losing my edge.
To all the kids in Lille and Houston.
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 chamberlin 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 Index to the grunge 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 These Immortal Souls. All the underground hits.
All Cabaret Voltaire tracks. I heard you have a vinyl of every Echospace record on German import.
I heard that you have a white label of every seminal crunk 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 a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Sexual Harrassment record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Sneak,
The Sisters of Mercy,
the Human League,
Maleditus Sound,
The Real Kids,
Pantytec,
Zapp,
Radiopuhelimet,
Swell Maps,
Lou Reed & John Cale,
Aswad,
Groovy Waters,
John Holt,
Ultravox,
Harry Pussy,
Rapeman,
Sound Behaviour,
James White and The Blacks,
Vladislav Delay,
Ornette Coleman,
Byron Stingily,
Outsiders,
Jesper Dahlback,
New Order,
Lou Reed,
Essential Logic,
Steve Hackett,
Stereo Dub,
Bobbi Humphrey,
48th St. Collective,
Sandy B,
Porter Ricks,
Andrew Hill,
the Slits,
Marine Girls,
Bob Dylan,
Arab on Radar,
Louis and Bebe Barron,
the Germs,
Althea and Donna,
Mary Jane Girls,
Rotary Connection,
Piero Umiliani,
The Count Five,
L. Decosne,
Thinking Fellers Union Local 282,
The Moleskins,
Terrestrial Tones,
Sad Lovers and Giants,
Iggy Pop,
Unrelated Segments,
Amon Düül II,
a-ha,
The Remains,
Joe Finger,
The Grass Roots,
The Skatalites,
Aural Exciters,
Chrome,
Man Eating Sloth,
F. McDonald,
The Blues Magoos,
Ultimate Spinach,
Public Image Ltd., Public Image Ltd., Public Image Ltd., Public Image Ltd..
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.