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 Barbados and from Bremen.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Tokyo and Mumbai.
I'm losing my edge to the art-school Salvador 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 linndrum sounds with much patience.
I was there when Michael McDonald 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 Jerry Gold Smith to the dance kids.
I played it at the Spitz.
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 Jimmy McGriff. All the underground hits.
All Hoover tracks. I heard you have a vinyl of every Lou Christie record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Massinfluence record.
I hear that you and your band have sold your organ and bought a sitar.
I hear that you and your band have sold your sitar and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Colin Newman,
Aural Exciters,
Boz Scaggs,
Lou Reed,
James White and The Blacks,
Danielle Patucci,
John Foxx,
The Gladiators,
Gabor Szabo,
Joe Finger,
Toni Rubio,
Pet Shop Boys,
The Fall,
Terrestrial Tones,
Susan Cadogan,
Peter Gordon & Love of Life Orchestra,
L. Decosne,
Pere Ubu,
Aloha Tigers,
Marcia Griffiths,
Nico,
Morten Harket,
FM Einheit,
Ten City,
Mary Jane Girls,
Skriet,
Piero Umiliani,
Michelle Simonal,
Albert Ayler,
Second Layer,
Echo & the Bunnymen,
Crooked Eye,
Monks,
Pharoah Sanders,
Idris Muhammad,
Jimmy McGriff,
Tomorrow,
Supertramp,
Underground Resistance,
Marine Girls,
The Gories,
Maleditus Sound,
Lizzy Mercier Descloux,
Arcadia,
Ultravox,
The Dead C,
Barclay James Harvest,
China Crisis,
Gary Puckett & The Union Gap,
Hasil Adkins,
Sight & Sound,
Glambeats Corp.,
Johnny Clarke,
Q65,
Yusef Lateef,
Half Japanese,
Roy Ayers Ubiquity,
Bobby Hutcherson,
Orchestral Manoeuvres in the Dark,
James Chance & The Contortions,
Frankie Knuckles,
The Motions,
Thompson Twins,
Skaos, Skaos, Skaos, Skaos.
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.