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 Finland and from Halifax.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Winnipeg and Shanghai.
I'm losing my edge to the art-school Philadelphia 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 Grauzone to the punk kids.
I played it at CBGB's.
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 Barrington Levy. All the underground hits.
All Faust tracks. I heard you have a vinyl of every Newcleus record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a John Holt record.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Model 500,
Yellowson,
Parry Music,
48th St. Collective,
Young Marble Giants,
David Bowie,
Groovy Waters,
Niagra,
Faust,
Jimmy McGriff,
The Cure,
Magma,
Warsaw,
Altered Images,
Derrick May,
The Trojans,
Stockholm Monsters,
Gil Scott-Heron and Jamie xx,
U.S. Maple,
Scratch Acid,
R.M.O.,
Das Ding,
Crime,
The Evens,
Matthew Halsall,
The Gun Club,
Bluetip,
John Lydon,
Brick,
Mars,
Mark Hollis,
The Fire Engines,
Drive Like Jehu,
Kaleidoscope,
Soul II Soul,
Ajijia Myrayebe,
Circle Jerks,
Soft Machine,
Sex Pistols,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Dave Clark Five,
Heaven 17,
Deadbeat,
Youth Brigade,
In Retrospect,
Deepchord,
Bootsy's Rubber Band,
Anakelly,
Dr. Dre and Snoop Doggy Dog,
Kool G Rap & DJ Polo,
John Cale,
Loose Ends,
Byron Stingily,
The Remains,
Simply Red,
Amon Düül,
Rufus Thomas,
James White and The Blacks,
Archie Shepp,
Half Japanese,
Moebius,
Sällskapet,
Barry Ungar, Barry Ungar, Barry Ungar, Barry Ungar.
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.