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 Niger and from Columbus.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Halifax and Mumbai.
I'm losing my edge to the art-school Bologna 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 1976 at the first Wire practice in a loft in Watford.
I was working on the spring reverb 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 Urselle to the jazz kids.
I played it at the Astoria.
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 Isaac Hayes. All the underground hits.
All The Neon Judgement tracks. I heard you have a vinyl of every Clear Light 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 '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Dark Day record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fad Gadget,
Animal Collective,
Alison Limerick,
The Leaves,
Joe Smooth,
Ten City,
Rahsaan Roland Kirk,
Henry Cow,
Chrome,
Reagan Youth,
The Modern Lovers,
Blake Baxter,
The Vogues,
Selector Dub Narcotic,
Nirvana,
Red Lorry Yellow Lorry,
Dr. Dre and Snoop Doggy Dog,
Kas Product,
Dual Sessions,
Janne Schatter,
Kool G Rap & DJ Polo,
The Stooges,
The Blues Magoos,
Urselle,
Pharoah Sanders,
Avey Tare,
Franke,
Supertramp,
Robert Wyatt,
Colin Newman,
Cameo,
The Dead C,
Make Up,
Maurizio,
Flipper,
Bronski Beat,
Warren Ellis,
Sun Ra Arkestra,
Anakelly,
Ronan,
Cal Tjader,
The Victims,
Second Layer,
Hot Snakes,
Gregory Isaacs,
Robert Görl,
Flamin' Groovies,
The Fortunes,
Ornette Coleman,
X-101,
The Names,
Lou Christie,
Drive Like Jehu,
Mantronix,
The Count Five,
Brass Construction,
Sly & The Family Stone,
Tommy Roe,
Theoretical Girls,
Charles Mingus,
The Alarm Clocks,
MC5,
The Mighty Diamonds,
Rapeman, Rapeman, Rapeman, Rapeman.
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.