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 Zambia and from Glasgow.
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 1978.
I'm losing my edge.
To all the kids in Stockholm and Hong Kong.
I'm losing my edge to the art-school Portland 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 marimba sounds with much patience.
I was there when Tom Verlaine 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 Janne Schatter to the crunk kids.
I played it at the 40 Watt.
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 Bang On A Can. All the underground hits.
All Suburban Knight tracks. I heard you have a vinyl of every The Chocolate Watch Band record on German import.
I heard that you have a white label of every seminal crunk 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 chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Excepter record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Bourne,
Intrusion,
Hot Snakes,
Howard Jones,
Faust,
Avey Tare & Kría Brekkan,
the Fania All-Stars,
The Human League,
Glambeats Corp.,
Second Layer,
Nas,
Connie Case,
Adolescents,
Cheater Slicks,
Mantronix,
Electric Light Orchestra,
Rites of Spring,
The Walker Brothers,
Harmonia,
Buzzcocks,
Minny Pops,
The Angels of Light,
Neu!,
Red Lorry Yellow Lorry,
Lonnie Liston Smith,
Section 25,
The Kinks,
Inner City,
Blake Baxter,
Radiohead,
Dave Gahan,
Gary Puckett & The Union Gap,
The Star Department,
Bronski Beat,
F. McDonald,
Gerry Rafferty,
Eric Dolphy,
Cymande,
Goldenarms,
Y Pants,
The Slackers,
Robert Görl,
Bob Dylan,
Avey Tare,
The Sisters of Mercy,
The Golliwogs,
Skaos,
MDC,
Sunsets and Hearts,
Wings,
Charles Mingus,
Camron Feat. Memphis Bleek And Beenie Seigel,
Deadbeat,
Super Lover Cee & Casanova Rud,
Fela Kuti,
Pete Rock & C.L. Smooth,
Skriet,
In Retrospect,
Bauhaus,
CMW,
DNA,
Depeche Mode, Depeche Mode, Depeche Mode, Depeche Mode.
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.