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 Kazakhstan and from Sao Paulo.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Mexico City and Manchester.
I'm losing my edge to the art-school Toronto 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 sitar 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 Pantytec to the grunge kids.
I played it at the Roxy.
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 Newcleus. All the underground hits.
All Clear Light tracks. I heard you have a vinyl of every Lungfish record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and an arpeggiator 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 harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Goldenarms,
Jawbox,
10cc,
CMW,
T.S.O.L.,
The Sonics,
Nils Olav,
Rakim,
Crooked Eye,
The Selecter,
The Doors,
Pussy Galore,
The Blues Magoos,
Rahsaan Roland Kirk,
Marshall Jefferson,
Saccharine Trust,
DNA,
Bobby Hutcherson,
Lou Reed,
Whodini,
Deakin,
Bill Wells,
Cybotron,
The Smiths,
Nick Cave & The Bad Seeds,
Anthony Braxton,
Isaac Hayes,
The Mojo Men,
Sugar Minott,
Rufus Thomas,
Donny Hathaway,
Quando Quango,
Curtis Mayfield,
James Chance & The Contortions,
Deepchord,
Rowland S Howard / Lydia Lunch,
Metal Thangz,
Rites of Spring,
Porter Ricks,
Tim Buckley,
Matthew Halsall,
Ultimate Spinach,
Bobbi Humphrey,
Flash Fearless,
Fluxion,
Justin Hinds & The Dominoes,
The Flesh Eaters,
Pagans,
Connie Case,
Jeff Lynne,
Depeche Mode,
The Sisters of Mercy,
Unrelated Segments,
48th St. Collective,
Pulsallama,
Joyce Sims,
Gabor Szabo,
Louis and Bebe Barron,
John Cale,
Loose Ends,
Toni Rubio,
Kerrie Biddell, Kerrie Biddell, Kerrie Biddell, Kerrie Biddell.
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.