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 Colombia and from Shanghai.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Manchester and Calgary.
I'm losing my edge to the art-school London 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 Donald Fagen 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 Q65 to the funk 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 Doors. All the underground hits.
All Echo & the Bunnymen tracks. I heard you have a vinyl of every Flash Fearless 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 '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Siglo XX record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lizzy Mercier Descloux,
Siglo XX,
Sällskapet,
Jerry Gold Smith,
X-Ray Spex,
Marc Romboy vs. Booka Shade,
Siouxsie and the Banshees,
Lee Hazlewood,
Graham Central Station,
Scratch Acid,
Sarah Menescal,
Nirvana,
Crispian St. Peters,
Bootsy Collins,
Bang On A Can,
David McCallum,
Yazoo,
The Royal Family And The Poor,
Maurizio,
Animal Collective,
Pylon,
Heaven 17,
The Slackers,
Camberwell Now,
Susan Cadogan,
Jeff Lynne,
the Slits,
John Cale,
the Soft Cell,
The Young Rascals,
Liliput,
Barry Ungar,
Country Joe & The Fish,
Newcleus,
Idris Muhammad,
Unrelated Segments,
Mo-Dettes,
Wolf Eyes,
This Heat,
Flamin' Groovies,
New York Dolls,
Harry Pussy,
Barclay James Harvest,
Dark Day,
Mary Jane Girls,
Gil Scott-Heron and Jamie xx,
Lebanon Hanover,
Drive Like Jehu,
Cabaret Voltaire,
Shuggie Otis,
Das Ding,
The Sound,
Sonic Youth,
Visage,
Gang Gang Dance,
Peter and Kerry,
Marcia Griffiths,
The Skatalites,
The Fugs, The Fugs, The Fugs, The Fugs.
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.