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 Qatar and from Lyon.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Columbus and Tokyo.
I'm losing my edge to the art-school Salvador 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 Lou Reed to the grime 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 Joensuu 1685. All the underground hits.
All Ultravox tracks. I heard you have a vinyl of every Suicide 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 '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your oboe and bought a marimba.
I hear that you and your band have sold your marimba and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wally Richardson,
Donny Hathaway,
Man Eating Sloth,
Brass Construction,
Whodini,
Bob Dylan,
Aswad,
Rahsaan Roland Kirk,
Porter Ricks,
Underground Resistance,
Mandrill,
Gregory Isaacs,
Roger Hodgson,
KRS-One,
Procol Harum,
Outsiders,
Soul Sonic Force,
Althea and Donna,
Dennis Brown,
Gil Scott-Heron and Jamie xx,
Röyhkä ja Rättö ja Lehtisalo,
The Martian,
Lafayette Afro Rock Band,
Mark Hollis,
Eyeless In Gaza,
Sun Ra,
The Detroit Cobras,
Davy DMX,
China Crisis,
Vladislav Delay,
The Seeds,
World's Most,
John Foxx,
Drive Like Jehu,
Beasts of Bourbon,
Arthur Verocai,
Tropical Tobacco,
OOIOO,
Peter & Gordon,
Byron Stingily,
Gang Green,
Mo-Dettes,
Gichy Dan,
Trumans Water,
The Stooges,
Rosa Yemen,
Radio Birdman,
Brand Nubian,
Marcia Griffiths,
Interpol,
Siouxsie and the Banshees,
Los Fastidios,
The J.B.'s,
Khruangbin,
Pantaleimon,
Juan Atkins,
The Smiths,
Thompson Twins,
The Invisible,
Cal Tjader,
Model 500,
The Doobie Brothers,
Niagra,
Depeche Mode,
Ohio Players, Ohio Players, Ohio Players, Ohio Players.
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.