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 Dominican Republic and from Delhi.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Paris and Spokane.
I'm losing my edge to the art-school New York 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 Soft Boys practice in a loft in Cambridge.
I was working on the mellotron 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 Negative Approach to the grime kids.
I played it at the Crocodile.
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 Jacques Brel. All the underground hits.
All Japan tracks. I heard you have a vinyl of every Malaria! 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 '70s cut and another box set from the '90s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your organ and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Royal Trux,
Tropical Tobacco,
The Searchers,
Tubeway Army,
The Men They Couldn't Hang,
Loose Ends,
Sad Lovers and Giants,
Brass Construction,
Flamin' Groovies,
Thompson Twins,
Ultra Naté,
Kenny Larkin,
Al Stewart,
the Germs,
The Moleskins,
Mars,
Orchestral Manoeuvres in the Dark,
Urselle,
Oppenheimer Analysis,
Rowland S Howard / Lydia Lunch,
The Durutti Column,
John Holt,
Outsiders,
Cecil Taylor,
Rufus Thomas,
The Detroit Cobras,
Fluxion,
Interpol,
ABC,
The Monochrome Set,
Peter Gordon & Love of Life Orchestra,
Liliput,
Aaron Thompson,
Niagra,
Barry Ungar,
Strawberry Alarm Clock,
Sticky Fingaz feat. Raekwon,
Chrome,
Marc Almond,
Marshall Jefferson,
Amazonics,
kango's stein massive,
Malaria!,
The Smoke,
Trumans Water,
The Smiths,
Deutsch Amerikanische Freundschaft,
Jacob Miller,
Nils Olav,
Erasure,
Derrick May,
David Bowie,
Eve St. Jones,
Joe Smooth,
Pole,
Bang on a Can All-Stars,
Ash Ra Tempel,
The Doors,
Eurythmics,
Toni Rubio,
Connie Case,
Lonnie Liston Smith,
Nik Kershaw, Nik Kershaw, Nik Kershaw, Nik Kershaw.
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.