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 Egypt and from Shanghai.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Edmonton and Hong Kong.
I'm losing my edge to the art-school London 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the spring reverb sounds with much patience.
I was there when Nile Rodgers 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 The Move to the punk 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 Malaria!. All the underground hits.
All Soft Cell tracks. I heard you have a vinyl of every David Axelrod record on German import.
I heard that you have a white label of every seminal rap 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 guitar and are throwing your macbook out the window because you want to make something real. You want to make a Gabor Szabo record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun City Girls,
The Dirtbombs,
Rites of Spring,
Dorothy Ashby,
Soft Machine,
Marine Girls,
The Dead C,
Dark Day,
Avey Tare,
Rapeman,
Barry Ungar,
Depeche Mode,
Josef K,
Los Fastidios,
Sight & Sound,
Magazine,
Vladislav Delay,
Traffic Nightmare,
Juan Atkins,
Banda Bassotti,
Glenn Branca,
The Offenders,
Stiv Bators,
Eddi Front,
Quantec,
Carl Craig,
Ralphi Rosario,
Flipper,
Amazonics,
Stereo Dub,
The Mighty Diamonds,
Yaz,
The Last Poets,
Slick Rick,
E-Dancer,
Anakelly,
Agitation Free,
The Smoke,
Avey Tare & Kría Brekkan,
Peter Gordon & Love of Life Orchestra,
The Fortunes,
Teenage Jesus and the Jerks,
Gichy Dan,
Quadrant,
Buzzcocks,
B.T. Express,
Eli Mardock,
Fat Boys,
Television,
Mo-Dettes,
The Jesus and Mary Chain,
Fluxion,
The Names,
Half Japanese,
Dr. Dre and Snoop Doggy Dog,
Orchestral Manoeuvres in the Dark,
Visionaries,LMNO, T- Love & Iriscience,
Amon Düül II,
Lower 48,
The Music Machine,
Audionom,
Rosa Yemen,
The Happenings,
Slave,
Lee Hazlewood, Lee Hazlewood, Lee Hazlewood, Lee Hazlewood.
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.