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 Vanuatu and from London.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Lyon and Mumbai.
I'm losing my edge to the art-school Mexico City 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 Sly & The Family Stone to the techno 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 Leaves. All the underground hits.
All Negative Approach tracks. I heard you have a vinyl of every Black Bananas 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 '70s cut and another box set from the '90s.
I hear you're buying a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a U.S. Maple record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sound,
Monolake,
Roxy Music,
Bill Wells,
Con Funk Shun,
Von Mondo,
Skriet,
X-101,
Spandau Ballet,
Q and Not U,
Derrick May,
The Moleskins,
Pierre Henry,
Tomorrow,
Girls At Our Best!,
Bill Near,
Delon & Dalcan,
Theoretical Girls,
Index,
The Fortunes,
Barclay James Harvest,
Stockholm Monsters,
Andrew Ashong & Theo Parrish,
The Offenders,
E-Dancer,
The Trojans,
Justin Hinds & The Dominoes,
The Barracudas,
Japan,
Bootsy Collins,
Albert Ayler,
Youth Brigade,
Banda Bassotti,
Harpers Bizarre,
Scrapy,
Michelle Simonal,
Sexual Harrassment,
A Flock of Seagulls,
Bush Tetras,
Camberwell Now,
Terrestrial Tones,
Maleditus Sound,
Black Bananas,
Bobby Womack,
Letta Mbulu,
Captain Beefheart & His Magic Band,
Zero Boys,
Vaughan Mason & Crew,
Siglo XX,
Brick,
Ken Boothe,
Aswad,
Marvin Gaye,
Electric Prunes,
Jacques Brel,
The Blackbyrds,
Janne Schatter,
Jandek,
New Order,
DeepChord presents Echospace,
The Associates,
Charles Mingus,
Marshall Jefferson, Marshall Jefferson, Marshall Jefferson, Marshall Jefferson.
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.