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 Sri Lanka and from Shanghai.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Paris and Copenhagen.
I'm losing my edge to the art-school Lagos 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 snare sounds with much patience.
I was there when David Bowie 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 FM Einheit to the funk 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 Eve St. Jones. All the underground hits.
All Lou Reed tracks. I heard you have a vinyl of every Roy Ayers record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an oboe and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a K-Klass 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?
B.T. Express,
Audionom,
Bobby Byrd,
The Count Five,
The Offenders,
Lafayette Afro Rock Band,
Fifty Foot Hose,
The Knickerbockers,
DNA,
The Seeds,
Sarah Menescal,
Qualms,
Henry Cow,
Dawn Penn,
Mission of Burma,
The Blues Magoos,
Barry Ungar,
Eli Mardock,
This Heat,
The Mighty Diamonds,
Main Source,
Rod Modell,
Bobby Sherman,
Gang Gang Dance,
The Doors,
Kurtis Blow,
Bootsy Collins,
Thompson Twins,
Kerrie Biddell,
Inner City,
Spoonie Gee,
Mad Mike,
Vaughan Mason & Crew,
La Düsseldorf,
Warren Ellis,
The Gories,
Sun Ra Arkestra,
Los Fastidios,
Joensuu 1685,
Carl Craig,
Bluetip,
Magma,
Saccharine Trust,
Marcia Griffiths,
Black Moon,
Clear Light,
Young Marble Giants,
Animal Collective,
Buzzcocks,
Metal Thangz,
Eyeless In Gaza,
Harpers Bizarre,
The West Coast Pop Art Experimental Band,
Tropical Tobacco,
the Soft Cell,
James White and The Blacks,
The Tremeloes,
Chris Corsano,
Jerry Gold Smith,
the Bar-Kays,
Con Funk Shun,
Tom Boy,
UT,
Zero Boys, Zero Boys, Zero Boys, Zero Boys.
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.