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 Portugal and from Delhi.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Woodstock and Salvador.
I'm losing my edge to the art-school Lyon 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 spring reverb 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 Adolescents to the grunge kids.
I played it at the Troubador.
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 The Leaves. All the underground hits.
All The Associates tracks. I heard you have a vinyl of every Sonic Youth record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Blackbyrds record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arthur Verocai,
Larry & the Blue Notes,
Wolf Eyes,
Graham Central Station,
Sixth Finger,
Maurizio,
the Fania All-Stars,
The Sound,
Dorothy Ashby,
Kayak,
Crime,
Amon Düül II,
Gong,
The Associates,
Oppenheimer Analysis,
Simply Red,
X-Ray Spex,
Second Layer,
The Barracudas,
Sexual Harrassment,
Faraquet,
Motorama,
Fifty Foot Hose,
Stockholm Monsters,
Neu!,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Fear,
JFA,
Spoonie Gee,
Mandrill,
the Germs,
Cymande,
Dave Gahan,
Chris & Cosey,
Mary Jane Girls,
Josef K,
Laurel Aitken,
Wally Richardson,
Swans,
The Dead C,
Barry Ungar,
Supertramp,
The J.B.'s,
Blossom Toes,
Nick Cave & The Bad Seeds,
Idris Muhammad,
The Dirtbombs,
Funky Four + One,
Carl Craig,
John Coltrane,
Heavy D & The Boyz,
The Motions,
The Litter,
The Young Rascals,
Niagra,
Yellowson,
Lindisfarne,
Subhumans,
Stereo Dub,
Rites of Spring, Rites of Spring, Rites of Spring, Rites of Spring.
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.