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 Libya and from Stockholm.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Mexico City and Seoul.
I'm losing my edge to the art-school Winnipeg 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 arpeggiator 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 Juan Atkins to the punk kids.
I played it at the Troubador.
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 Inner City. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every Jeff Lynne 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 '50s cut and another box set from the '90s.
I hear you're buying a rhodes and a spring reverb 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 oboe and bought a guitar.
I hear that you and your band have sold your guitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DNA,
Essential Logic,
Ornette Coleman,
Pagans,
Q and Not U,
Donny Hathaway,
Symarip,
Wasted Youth,
Moby Grape,
Ludus,
Eve St. Jones,
New Age Steppers,
Grauzone,
Section 25,
The Fuzztones,
Spoonie Gee,
Boredoms,
Morten Harket,
The Invisible,
The Moody Blues,
Lower 48,
Duran Duran,
Arthur Verocai,
Index,
Slave,
Electric Light Orchestra,
Anthony Braxton,
Crispian St. Peters,
Pierre Henry,
Glambeats Corp.,
Marmalade,
Brick,
Matthew Bourne,
Captain Beefheart & His Magic Band,
Ultramagnetic MC's,
Iggy Pop,
Hot Snakes,
The Velvet Underground,
Massinfluence,
Boz Scaggs,
Ohio Players,
The Blackbyrds,
Electric Prunes,
Kurtis Blow,
Reagan Youth,
Khruangbin,
Agent Orange,
ABBA,
Swell Maps,
Ice-T,
Cameo,
Visage,
Rahsaan Roland Kirk,
The Angels of Light,
Procol Harum,
Harmonia,
Mr. Review,
Marine Girls,
Josef K,
Eden Ahbez,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.