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 Togo and from Seoul.
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 1970.
I'm losing my edge.
To all the kids in Accra and Portland.
I'm losing my edge to the art-school Calgary 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 chamberlin 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 Letta Mbulu to the rap 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 Black Pus. All the underground hits.
All Wings tracks. I heard you have a vinyl of every The Cramps record on German import.
I heard that you have a white label of every seminal punk 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 snare and are throwing your macbook out the window because you want to make something real. You want to make a Flipper record.
I hear that you and your band have sold your theremin and bought a guitar.
I hear that you and your band have sold your guitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun City Girls,
kango's stein massive,
Los Fastidios,
Half Japanese,
The United States of America,
Ludus,
Parry Music,
The Selecter,
Thinking Fellers Union Local 282,
David Axelrod,
Barbara Tucker,
Sällskapet,
Maurizio,
Hot Snakes,
The Fugs,
Electric Light Orchestra,
Henry Cow,
Thompson Twins,
Cal Tjader,
Lafayette Afro Rock Band,
Shoche,
Grey Daturas,
E-Dancer,
F. McDonald,
Gregory Isaacs,
Suicide,
Alison Limerick,
Underground Resistance,
Kerrie Biddell,
Lalo Schifrin,
Cymande,
Eric B and Rakim,
Kool Moe Dee,
K-Klass,
Morten Harket,
Nils Olav,
Rosa Yemen,
The Happenings,
Joe Finger,
Clear Light,
Siouxsie and the Banshees,
Ultravox,
Eric Copeland,
Gichy Dan,
Ralphi Rosario,
Jacob Miller,
Stereo Dub,
PIL,
Franke,
Ultramagnetic MC's,
Black Bananas,
Inner City,
Oblivians,
Jacques Brel,
Goldenarms,
Brass Construction,
The Dead C,
Minor Threat,
the Swans,
Agent Orange,
Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock.
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.