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 Iceland and from Portland.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Lille and Lagos.
I'm losing my edge to the art-school Manchester 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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the güiro 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 Agent Orange to the grunge kids.
I played it at the Astoria.
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 Robert Hood. All the underground hits.
All The Durutti Column tracks. I heard you have a vinyl of every Letta Mbulu 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 '80s cut and another box set from the '90s.
I hear you're buying an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Black Moon record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Richard Hell and the Voidoids,
Royal Trux,
Donny Hathaway,
Dead Boys,
New Age Steppers,
Rapeman,
Scan 7,
Radio Birdman,
The Count Five,
Nation of Ulysses,
Ponytail,
Notorious Big And Bone Thugs,
Model 500,
The Chocolate Watch Band,
John Coltrane,
Patti Smith,
Orchestral Manoeuvres in the Dark,
Glambeats Corp.,
Electric Light Orchestra,
Wolf Eyes,
Accadde A,
The Litter,
Cal Tjader,
Average White Band,
Toni Rubio,
Kerrie Biddell,
Trumans Water,
Goldenarms,
John Foxx,
U.S. Maple,
Chris Corsano,
Peter Gordon & Love of Life Orchestra,
Lindisfarne,
Fugazi,
The Motions,
James White and The Blacks,
Cheater Slicks,
Tears for Fears,
The Associates,
L. Decosne,
Monks,
Archie Shepp,
Cluster,
Glenn Branca,
Pantytec,
Roxette,
Scrapy,
Fad Gadget,
Gregory Isaacs,
Maleditus Sound,
Monolake,
Vladislav Delay,
The Royal Family And The Poor,
Brick,
Kerri Chandler,
Max Romeo,
Fat Boys,
The Toasters,
Thompson Twins,
Soft Machine,
A Certain Ratio,
Gabor Szabo, Gabor Szabo, Gabor Szabo, Gabor Szabo.
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.