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 Micronesia and from Columbus.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Tokyo and Bologna.
I'm losing my edge to the art-school Tokyo 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 mellotron 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 Cluster to the rock kids.
I played it at the Spitz.
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 Vogues. All the underground hits.
All The Buckinghams tracks. I heard you have a vinyl of every Circle Jerks record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Porter Ricks record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slackers,
Young Marble Giants,
The Electric Prunes,
Au Pairs,
Nation of Ulysses,
Country Teasers,
Ronnie Foster,
The Jesus and Mary Chain,
The Alarm Clocks,
In Retrospect,
Frankie Knuckles,
Goldenarms,
Aural Exciters,
Scott Walker + Sunn O))),
Shoche,
Second Layer,
Parry Music,
Eyeless In Gaza,
Man Parrish,
Audionom,
Drive Like Jehu,
Neil Young,
Steve Hackett,
Janne Schatter,
Crash Course in Science,
Röyhkä ja Rättö ja Lehtisalo,
The Buckinghams,
Kevin Saunderson,
Kerri Chandler,
Lyres,
Gil Scott-Heron and Jamie xx,
The Cosmic Jokers,
Tubeway Army,
Dark Day,
Amon Düül II,
Bobby Byrd,
Fat Boys,
Matthew Bourne,
The Moleskins,
Sixth Finger,
Johnny Clarke,
The Monochrome Set,
Tres Demented,
The Monks,
Lalo Schifrin,
Sarah Menescal,
Byron Stingily,
Matthew Halsall,
Lee Hazlewood,
the Sonics,
Liliput,
Bad Manners,
The Sonics,
Faust,
AZ,
Kool Moe Dee,
John Coltrane,
The Shadows of Knight,
Youth Brigade,
Vladislav Delay,
Marc Romboy vs. Booka Shade,
Monolake,
The Smiths, The Smiths, The Smiths, The Smiths.
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.