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 Antigua and from Taipei.
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 1978.
I'm losing my edge.
To all the kids in Cairo and Lyon.
I'm losing my edge to the art-school Taipei 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 clarinet sounds with much patience.
I was there when Donald Fagen 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 Kerri Chandler to the disco kids.
I played it at the Hacienda.
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 Japan. All the underground hits.
All Be Bop Deluxe tracks. I heard you have a vinyl of every Franke record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Black Flag record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sexual Harrassment,
Rufus Thomas,
Barbara Tucker,
Rhythim Is Rhythim,
Judy Mowatt,
Masters at Work,
Dead Boys,
Fugazi,
Rotary Connection,
Groovy Waters,
Cameo,
Andrew Hill,
Pulsallama,
The Searchers,
Motorama,
Dark Day,
Harpers Bizarre,
Reuben Wilson,
Jandek,
The Vogues,
The Pretty Things,
Ponytail,
Saccharine Trust,
Agent Orange,
The Young Rascals,
the Association,
Gabor Szabo,
Bootsy Collins,
Rapeman,
The Doobie Brothers,
Wighnomy Brothers & Robag Wruhme,
Traffic Nightmare,
Eden Ahbez,
Theoretical Girls,
Tom Boy,
Little Man,
Teenage Jesus and the Jerks,
The Motions,
The Dave Clark Five,
Fad Gadget,
The Monochrome Set,
Hasil Adkins,
Simply Red,
Terry Callier,
James White and The Blacks,
Matthew Halsall,
Sound Behaviour,
Funky Four + One,
The Dirtbombs,
Chris & Cosey,
Jesper Dahlbäck,
Echo & the Bunnymen,
Camron Feat. Memphis Bleek And Beenie Seigel,
Urselle,
The Count Five,
Alton Ellis,
EPMD,
Liaisons Dangereuses,
Lafayette Afro Rock Band,
Lonnie Liston Smith,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.