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 Dominican Republic and from Toronto.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Beijing and Seoul.
I'm losing my edge to the art-school Manila 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 theremin sounds with much patience.
I was there when Lou Reed 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 Theoretical Girls to the rap kids.
I played it at the Crocodile.
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 Crash Course in Science. All the underground hits.
All Deepchord tracks. I heard you have a vinyl of every Sound Behaviour 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 '80s.
I hear you're buying a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Al Stewart record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
The Shadows of Knight,
Dual Sessions,
Godley & Creme,
Severed Heads,
Matthew Bourne,
Suburban Knight,
The Slackers,
Gil Scott-Heron & Brian Jackson,
Echospace,
The Five Americans,
Bush Tetras,
Easy Going,
Cabaret Voltaire,
Zapp,
Joe Smooth,
The Happenings,
The Black Dice,
Whodini,
Mad Mike,
One Last Wish,
The Smoke,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Derrick Morgan,
Althea and Donna,
Arthur Verocai,
Fear,
Gerry Rafferty,
Deutsch Amerikanische Freundschaft,
The Gap Band,
the Swans,
The Divine Comedy,
Rowland S Howard / Lydia Lunch,
Gang Green,
Unwound,
New Age Steppers,
Beasts of Bourbon,
Anakelly,
Boredoms,
Stiv Bators,
Funkadelic,
Traffic Nightmare,
The Names,
Moebius,
Scrapy,
Audionom,
Flipper,
Ultramagnetic MC's,
Sam Rivers,
Lucky Dragons,
The Electric Prunes,
Juan Atkins,
Animal Collective,
Arab on Radar,
Stereo Dub,
Ajijia Myrayebe,
The Star Department,
Kool G Rap & DJ Polo,
Duran Duran,
Intrusion,
Louis and Bebe Barron,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.