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 Qatar and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1971.
I'm losing my edge.
To all the kids in Houston and Seoul.
I'm losing my edge to the art-school Tehran 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 clarinet 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 Circle Jerks 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 Bronski Beat. All the underground hits.
All John Lydon tracks. I heard you have a vinyl of every Deadbeat 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 '60s cut and another box set from the '80s.
I hear you're buying a guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar 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 Durutti Column,
Joey Negro,
Joe Smooth,
Piero Umiliani,
Tears for Fears,
Mary Jane Girls,
Michelle Simonal,
Vladislav Delay,
June Days,
Red Lorry Yellow Lorry,
Average White Band,
John Coltrane,
Black Bananas,
Rekid,
Gang Green,
Royal Trux,
JFA,
Ken Boothe,
Chris Corsano,
Theoretical Girls,
Television,
The Techniques,
T.S.O.L.,
Richard Hell and the Voidoids,
Parry Music,
Sixth Finger,
ABC,
Tubeway Army,
Sun Ra Arkestra,
The Detroit Cobras,
Brass Construction,
The Electric Prunes,
Leonard Cohen,
Jeru the Damaja,
Fat Boys,
Avey Tare & Kría Brekkan,
The Black Dice,
The Residents,
Dual Sessions,
Soulsonic Force,
Rufus Thomas,
Sight & Sound,
Sun Ra,
Bang On A Can,
Oppenheimer Analysis,
Schoolly D,
PIL,
Crooked Eye,
Captain Beefheart & His Magic Band,
The American Breed,
Jeff Mills,
Cal Tjader,
The Modern Lovers,
Matthew Bourne,
The Sound,
Darondo,
Harmonia,
Brick,
Flamin' Groovies,
Bootsy's Rubber Band,
The Monochrome Set,
Clear Light,
Anakelly,
Junior Murvin, Junior Murvin, Junior Murvin, Junior Murvin.
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.