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 India and from Glasgow.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Delhi.
I'm losing my edge to the art-school Houston 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 linndrum sounds with much patience.
I was there when Tom Verlaine 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 Anakelly to the electroclash kids.
I played it at the Crocodile.
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 Urselle. All the underground hits.
All Eddi Front tracks. I heard you have a vinyl of every Blake Baxter 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 '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Pantaleimon record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Angels of Light,
The Monochrome Set,
Black Moon,
It's A Beautiful Day,
Urselle,
Zapp,
Desert Stars,
Jeru the Damaja,
The Flesh Eaters,
Mars,
The West Coast Pop Art Experimental Band,
Lou Reed & John Cale,
The Chocolate Watch Band,
Funkadelic,
Ultra Naté,
Parry Music,
Vaughan Mason & Crew,
Suburban Knight,
Black Bananas,
Shoche,
Liaisons Dangereuses,
Stiv Bators,
The Knickerbockers,
Sonny Sharrock,
Major Organ And The Adding Machine,
The Grass Roots,
Index,
Country Teasers,
The Gun Club,
Jawbox,
Malaria!,
Danielle Patucci,
The Shadows of Knight,
Gang Green,
Black Pus,
Big Daddy Kane,
Ultravox,
Porter Ricks,
The Toasters,
James White and The Blacks,
Al Stewart,
Banda Bassotti,
The Velvet Underground,
Goldenarms,
Marc Romboy vs. Booka Shade,
Dawn Penn,
The Residents,
Kerri Chandler,
Mad Mike,
Nick Cave & The Bad Seeds,
The Names,
The New Christs,
Hasil Adkins,
The Monks,
Ronan,
10cc,
F. McDonald,
Moebius,
Graham Central Station,
Shuggie Otis,
Ash Ra Tempel,
James Chance & The Contortions,
Aural Exciters,
Marshall Jefferson,
The Index, The Index, The Index, The Index.
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.