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 Cambodia and from Johannesburg.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Toronto and Johannesburg.
I'm losing my edge to the art-school Accra 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Gary Puckett & The Union Gap to the rap kids.
I played it at Cafe Wha.
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 Yazoo. All the underground hits.
All Dorothy Ashby tracks. I heard you have a vinyl of every The Busters record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Todd Rundgren record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Remains,
Sällskapet,
John Coltrane,
Barclay James Harvest,
Louis and Bebe Barron,
Thee Headcoats,
Freddie Wadling,
The New Christs,
The Barracudas,
Tres Demented,
Deepchord,
Bobbi Humphrey,
Rakim,
Agitation Free,
Heavy D & The Boyz,
The Misunderstood,
Rekid,
The Seeds,
Faraquet,
Mars,
Leonard Cohen,
Charles Mingus,
H. Thieme,
Eli Mardock,
Nik Kershaw,
Ten City,
L. Decosne,
Peter & Gordon,
Magazine,
Fluxion,
Jawbox,
The Fuzztones,
Sam Rivers,
Cal Tjader,
Dark Day,
Lucky Dragons,
Orchestral Manoeuvres in the Dark,
Shoche,
Eric Copeland,
The Jesus and Mary Chain,
Visage,
Swans,
Lonnie Liston Smith,
Captain Beefheart & His Magic Band,
Robert Görl,
Radio Birdman,
The Fire Engines,
The Move,
Flash Fearless,
The Litter,
Juan Atkins,
Robert Hood,
Bang on a Can All-Stars,
Fat Boys,
Glambeats Corp.,
Moss Icon,
Dave Gahan,
Gerry Rafferty,
The Gories,
Slave, Slave, Slave, Slave.
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.