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 Finland and from Philadelphia.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Columbus and Manila.
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 mellotron sounds with much patience.
I was there when Tom Verlaine 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 Red Lorry Yellow Lorry to the techno kids.
I played it at the Troubador.
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 Silicon Teens. All the underground hits.
All Terrestrial Tones tracks. I heard you have a vinyl of every Fugazi 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 '60s cut and another box set from the '80s.
I hear you're buying an oboe and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Ohio Players record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moody Blues,
Strawberry Alarm Clock,
Ralphi Rosario,
Eyeless In Gaza,
Jacob Miller,
Kas Product,
Minnie Riperton,
Masters at Work,
T. Rex,
Deutsch Amerikanische Freundschaft,
Bobbi Humphrey,
Scion,
Bizarre Inc.,
Boredoms,
DNA,
Cymande,
The Toasters,
Monolake,
The Gladiators,
AZ,
Khruangbin,
Bauhaus,
Avey Tare,
Model 500,
The Trojans,
World's Most,
The Human League,
Steve Hackett,
Nick Cave & The Bad Seeds,
Roy Ayers Ubiquity,
Scan 7,
Thee Headcoats,
Deadbeat,
X-Ray Spex,
Arthur Verocai,
The Kinks,
The Monochrome Set,
Yellowson,
Zapp,
Arab on Radar,
The Names,
CMW,
Urselle,
The Barracudas,
Peter & Gordon,
Severed Heads,
Hashim,
Ten City,
Ossler,
Outsiders,
Nils Olav,
Pussy Galore,
Richard Hell and the Voidoids,
The Misunderstood,
The Doors,
The Zeros,
Brand Nubian,
The Sonics,
Donny Hathaway,
Shuggie Otis,
Ultravox,
Matthew Halsall,
Jimmy McGriff,
Kool G Rap & DJ Polo,
Marc Almond, Marc Almond, Marc Almond, Marc Almond.
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.