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 Australia and from Seoul.
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 1973.
I'm losing my edge.
To all the kids in Houston and Johannesburg.
I'm losing my edge to the art-school Edmonton 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 sitar 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 The Beau Brummels to the rap 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 the Human League. All the underground hits.
All Bobby Womack tracks. I heard you have a vinyl of every New York Dolls record on German import.
I heard that you have a white label of every seminal dance 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 a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wolf Eyes,
Lee Hazlewood,
Glenn Branca,
China Crisis,
Peter and Kerry,
The Techniques,
Radiopuhelimet,
The Last Poets,
Funky Four + One,
Fela Kuti,
The American Breed,
Sixth Finger,
Bang on a Can All-Stars,
Deadbeat,
The Music Machine,
The Young Rascals,
Pierre Henry,
Faraquet,
Surgeon,
Moss Icon,
Brick,
The Zeros,
The Fugs,
Thinking Fellers Union Local 282,
Manfred Mann's Earth Band,
Electric Light Orchestra,
Thompson Twins,
KRS-One,
The West Coast Pop Art Experimental Band,
Underground Resistance,
the Bar-Kays,
Man Parrish,
The Red Krayola,
Unwound,
Mad Mike,
Louis and Bebe Barron,
Stockholm Monsters,
Crooked Eye,
Shuggie Otis,
Clear Light,
The Skatalites,
Quando Quango,
World's Most,
Second Layer,
Soft Cell,
Kool Moe Dee,
Bobby Womack,
Adolescents,
Drive Like Jehu,
This Heat,
Altered Images,
Inner City,
David Bowie,
The Monochrome Set,
Neu!,
Loose Ends,
Vainqueur,
X-101,
Mark Hollis,
The Jesus and Mary Chain,
Rod Modell,
Fifty Foot Hose,
Yaz, Yaz, Yaz, Yaz.
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.