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 Bolivia 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 1967 to 1978.
I'm losing my edge.
To all the kids in Houston and Portland.
I'm losing my edge to the art-school Woodstock 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 arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Neil Young to the dance kids.
I played it at Cafe Wha.
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 Black Moon. All the underground hits.
All Amon Düül tracks. I heard you have a vinyl of every Angry Samoans record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Tears for Fears record.
I hear that you and your band have sold your guitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minnie Riperton,
Mantronix,
Magma,
Avey Tare & Kría Brekkan,
Sister Nancy,
Los Fastidios,
James White and The Blacks,
Eve St. Jones,
Sly & The Family Stone,
Bobby Womack,
Vladislav Delay,
Rahsaan Roland Kirk,
Laurel Aitken,
Soft Cell,
Pete Rock & C.L. Smooth,
Juan Atkins,
Spandau Ballet,
Groovy Waters,
Bad Manners,
Kool Moe Dee,
Pierre Henry,
Slave,
Lyres,
Gabor Szabo,
The Mighty Diamonds,
Beasts of Bourbon,
Bob Dylan,
Louis and Bebe Barron,
Isaac Hayes,
The Zeros,
The Doors,
Monolake,
Eddi Front,
Pylon,
Simply Red,
Derrick Morgan,
Lebanon Hanover,
Crispian St. Peters,
Avey Tare,
Johnny Clarke,
The Victims,
The Happenings,
Schoolly D,
Subhumans,
Mr. Review,
Interpol,
Nico,
Delta 5,
Make Up,
Nik Kershaw,
Sexual Harrassment,
Alison Limerick,
Swans,
The Associates,
Reuben Wilson,
Jerry's Kids,
MC5,
Urselle,
A Flock of Seagulls,
Mad Mike,
Public Image Ltd.,
Andrew Ashong & Theo Parrish,
Carl Craig,
Inner City,
the Association, the Association, the Association, the Association.
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.