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 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 1970.
I'm losing my edge.
To all the kids in Edmonton and Seoul.
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 organ sounds with much patience.
I was there when David Bowie 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 Hashim to the grime 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 Young Marble Giants. All the underground hits.
All Harmonia tracks. I heard you have a vinyl of every The Chocolate Watch Band record on German import.
I heard that you have a white label of every seminal funk 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 snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Judy Mowatt,
Roy Ayers Ubiquity,
The Litter,
Grey Daturas,
The Chocolate Watch Band,
Echospace,
Kool G Rap & DJ Polo,
Deutsch Amerikanische Freundschaft,
Black Flag,
Deadbeat,
Gil Scott-Heron & Brian Jackson,
The Motions,
Röyhkä ja Rättö ja Lehtisalo,
Marmalade,
Y Pants,
The West Coast Pop Art Experimental Band,
Soul Sonic Force,
Cameo,
Pharoah Sanders,
These Immortal Souls,
Scratch Acid,
The J.B.'s,
Schoolly D,
The Stooges,
Cluster,
The Misunderstood,
Tom Boy,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Reagan Youth,
Andrew Hill,
Vaughan Mason & Crew,
The Grass Roots,
Hasil Adkins,
Girls At Our Best!,
Ken Boothe,
Captain Beefheart & His Magic Band,
Porter Ricks,
David McCallum,
Duran Duran,
Trumans Water,
David Bowie,
Kaleidoscope,
Fatback Band,
Dual Sessions,
Teenage Jesus and the Jerks,
Lalann,
The Invisible,
Arthur Verocai,
Pulsallama,
Grauzone,
Susan Cadogan,
Avey Tare's Slasher Flicks,
The Velvet Underground,
Ponytail,
Wasted Youth,
Drive Like Jehu,
Symarip,
The Pretty Things, The Pretty Things, The Pretty Things, The Pretty Things.
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.