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 Russia and from Taipei.
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 1974.
I'm losing my edge.
To all the kids in Madrid and Lyon.
I'm losing my edge to the art-school Lagos 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 the Slits to the funk 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 Essential Logic. All the underground hits.
All The Victims tracks. I heard you have a vinyl of every Michelle Simonal record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Bill Wells record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Dolphy,
Accadde A,
Al Stewart,
Depeche Mode,
The Offenders,
Lungfish,
Crooked Eye,
Alphaville,
Cluster,
Radiopuhelimet,
The Cramps,
Kings Of Tomorrow,
The Mighty Diamonds,
Ossler,
Nas,
Bob Dylan,
Eden Ahbez,
Sly & The Family Stone,
Jawbox,
a-ha,
Pharaoh Sanders and the Fire Engines,
Procol Harum,
Gil Scott Heron,
China Crisis,
Rhythim Is Rhythim,
Bizarre Inc.,
Angels of Light & Akron/Family,
Susan Cadogan,
Slave,
Lyres,
Strawberry Alarm Clock,
The West Coast Pop Art Experimental Band,
Franke,
The Last Poets,
Joe Finger,
Ajijia Myrayebe,
Alton Ellis,
Morten Harket,
Glenn Branca,
Echo & the Bunnymen,
Throbbing Gristle,
Matthew Bourne,
Rod Modell,
Slick Rick,
Panda Bear,
Bobby Byrd,
Lucky Dragons,
Metal Thangz,
Sad Lovers and Giants,
Josef K,
Spandau Ballet,
Wasted Youth,
David Bowie,
The Trojans,
Scott Walker,
The Cosmic Jokers,
Art Ensemble Of Chicago,
Ten City,
The Gap Band,
Make Up,
the Soft Cell,
the Bar-Kays,
Sam Rivers,
Eddi Front, Eddi Front, Eddi Front, Eddi Front.
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.