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 Nepal and from Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Edmonton and Mexico City.
I'm losing my edge to the art-school Hong Kong 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 mellotron 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 Little Man to the funk kids.
I played it at Trash.
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 Althea and Donna. All the underground hits.
All Eric Copeland tracks. I heard you have a vinyl of every Motorama 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 '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your marimba and bought a marimba.
I hear that you and your band have sold your marimba and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
The Selecter,
Symarip,
The Sonics,
Moby Grape,
Soul II Soul,
Deadbeat,
Porter Ricks,
Monks,
Bronski Beat,
Erykah Badu,
Deakin,
Scrapy,
Godley & Creme,
Joyce Sims,
Robert Hood,
Jesper Dahlback,
Q and Not U,
Minny Pops,
Rod Modell,
The Remains,
Pole,
Mission of Burma,
Moebius,
Girls At Our Best!,
UT,
Sexual Harrassment,
Rekid,
Ash Ra Tempel,
Terry Callier,
Mary Jane Girls,
Ultravox,
Japan,
Charles Mingus,
Can,
Stereo Dub,
Pere Ubu,
Angry Samoans,
The Smiths,
The Gun Club,
Marvin Gaye,
Wally Richardson,
The Monochrome Set,
Gary Puckett & The Union Gap,
Avey Tare & Kría Brekkan,
Glenn Branca,
Yellowson,
ABBA,
The Detroit Cobras,
Liliput,
Mandrill,
Shoche,
OOIOO,
Chrome,
Soul Sonic Force,
Smog,
Loose Ends,
Sunsets and Hearts,
The Flesh Eaters,
Livin' Joy,
Bad Manners,
Terrestrial Tones,
The Electric Prunes,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.