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 Panama and from New York.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Taipei and Columbus.
I'm losing my edge to the art-school Madrid 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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Patti Smith to the grunge 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 Oneida. All the underground hits.
All the Germs tracks. I heard you have a vinyl of every The Electric Prunes 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 '50s cut and another box set from the '70s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Eve St. Jones record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monochrome Set,
the Human League,
The Searchers,
Alphaville,
John Lydon,
Kaleidoscope,
Glenn Branca,
The New Christs,
Pet Shop Boys,
Half Japanese,
The Stooges,
Stockholm Monsters,
Silicon Teens,
Archie Shepp,
Liliput,
Blossom Toes,
Ultravox,
Mission of Burma,
Junior Murvin,
Letta Mbulu,
Prince Buster,
Make Up,
Angry Samoans,
Tubeway Army,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Babytalk,
Sällskapet,
The Electric Prunes,
Agent Orange,
The Fall,
Qualms,
Cluster,
Ronan,
Aswad,
Masters at Work,
Robert Wyatt,
Isaac Hayes,
Newcleus,
Chris & Cosey,
Khruangbin,
Cabaret Voltaire,
Lindisfarne,
The Slits,
Jeff Mills,
Bang On A Can,
Dark Day,
The Moleskins,
A Certain Ratio,
Outsiders,
Brick,
MDC,
Sound Behaviour,
The Velvet Underground,
Michelle Simonal,
Big Daddy Kane,
Zero Boys,
Drexciya,
Davy DMX,
The Red Krayola,
Rod Modell,
The Shadows of Knight,
Johnny Osbourne,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.