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 Greece and from Lille.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Seoul and Johannesburg.
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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the snare sounds with much patience.
I was there when Nile Rodgers 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 John Lydon to the techno 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 Brick. All the underground hits.
All The Stooges tracks. I heard you have a vinyl of every Cecil Taylor record on German import.
I heard that you have a white label of every seminal electroclash 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 spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Gerry Rafferty record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minor Threat,
The Fortunes,
Joey Negro,
Altered Images,
Severed Heads,
Kerrie Biddell,
Tubeway Army,
Chris Corsano,
Lizzy Mercier Descloux,
Agitation Free,
Pharoah Sanders,
Television Personalities,
Minutemen,
Black Sheep,
Laurel Aitken,
Ituana,
Gary Puckett & The Union Gap,
X-Ray Spex,
Barclay James Harvest,
Sound Behaviour,
Juan Atkins,
The Seeds,
Lindisfarne,
Davy DMX,
Wighnomy Brothers & Robag Wruhme,
Funky Four + One,
Barry Ungar,
The Mojo Men,
Skaos,
De La Soul & Jungle Brothers,
Skriet,
Black Pus,
Lalo Schifrin,
Todd Terry,
Bronski Beat,
Pole,
the Soft Cell,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Sonny Sharrock,
Gil Scott-Heron & Brian Jackson,
The Pop Group,
Yaz,
Siglo XX,
Sarah Menescal,
JFA,
Crash Course in Science,
The Blackbyrds,
Ultravox,
Lee Hazlewood,
B.T. Express,
the Human League,
The Fall,
Rakim,
The Vogues,
Dave Gahan,
The J.B.'s,
The Walker Brothers,
Make Up,
Marine Girls,
Q and Not U,
John Lydon,
Pulsallama, Pulsallama, Pulsallama, Pulsallama.
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.