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 Tunisia and from Jakarta.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1977.
I'm losing my edge.
To all the kids in Hong Kong and Stockholm.
I'm losing my edge to the art-school Lagos 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 chamberlin 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 Underground Resistance to the dance 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 Moss Icon. All the underground hits.
All Art Ensemble Of Chicago tracks. I heard you have a vinyl of every Eli Mardock 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 '70s cut and another box set from the '90s.
I hear you're buying an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Peter & Gordon record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlbäck,
David Bowie,
Con Funk Shun,
Sparks,
Country Joe & The Fish,
Oppenheimer Analysis,
The Sound,
Slave,
Justin Hinds & The Dominoes,
Suicide,
JFA,
Jesper Dahlback,
Sight & Sound,
Matthew Bourne,
Little Man,
Pantaleimon,
Notorious BIG live in Amsterdam,
Grandmaster Flash,
The Litter,
Malaria!,
Piero Umiliani,
Gil Scott Heron,
Boredoms,
Unrelated Segments,
Maurizio,
The Mighty Diamonds,
Japan,
Eli Mardock,
Fela Kuti,
Super Lover Cee & Casanova Rud,
Avey Tare,
Lyres,
The Move,
Smog,
The Skatalites,
Lightning Bolt,
Hardrive,
Rakim,
Tim Buckley,
John Holt,
Scion,
The Selecter,
Vainqueur,
Godley & Creme,
Das Ding,
Prince Buster,
the Germs,
Röyhkä ja Rättö ja Lehtisalo,
Los Fastidios,
the Association,
Babytalk,
Jandek,
Sexual Harrassment,
Laurel Aitken,
Terrestrial Tones,
Jawbox,
Brothers Johnson,
Gil Scott-Heron & Brian Jackson,
Excepter,
Strawberry Alarm Clock,
Letta Mbulu, Letta Mbulu, Letta Mbulu, Letta Mbulu.
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.