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 Costa Rica and from Sao Paulo.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Milan and Paris.
I'm losing my edge to the art-school Lille 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 snare sounds with much patience.
I was there when Lou Reed 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 Nils Olav to the electroclash 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 Saccharine Trust. All the underground hits.
All Eurythmics tracks. I heard you have a vinyl of every Heavy D & The Boyz record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Bourne record.
I hear that you and your band have sold your guitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
Jerry's Kids,
Kings Of Tomorrow,
The Black Dice,
Eyeless In Gaza,
Michelle Simonal,
Shoche,
Skriet,
Big Daddy Kane,
Tim Buckley,
Roger Hodgson,
Model 500,
the Germs,
Anakelly,
Arcadia,
Motorama,
Soft Machine,
Eve St. Jones,
Terry Callier,
Public Enemy,
Schoolly D,
Roy Ayers,
Kenny Larkin,
Rod Modell,
Half Japanese,
Rahsaan Roland Kirk,
Pharoah Sanders,
Godley & Creme,
The Zeros,
B.T. Express,
Heaven 17,
Erasure,
Vladislav Delay,
Subhumans,
48th St. Collective,
Moby Grape,
The Mighty Diamonds,
Intrusion,
Crispian St. Peters,
The Motions,
Monks,
Young Marble Giants,
The Angels of Light,
Charles Mingus,
Soft Cell,
Barry Ungar,
Gil Scott Heron,
F. McDonald,
Cybotron,
Boredoms,
Black Moon,
Joensuu 1685,
Spoonie Gee,
Oneida,
Bootsy's Rubber Band,
Man Eating Sloth,
Newcleus,
Tommy Roe,
Susan Cadogan,
Pet Shop Boys,
Y Pants,
Davy DMX,
Interpol, Interpol, Interpol, Interpol.
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.