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 Norway and from Manila.
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 1974.
I'm losing my edge.
To all the kids in Taipei and Seoul.
I'm losing my edge to the art-school Edmonton 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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Normal to the grime kids.
I played it at the Crocodile.
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 Franke. All the underground hits.
All In Retrospect tracks. I heard you have a vinyl of every Patti Smith 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 '80s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Memphis Bleek And Beenie Seigel record.
I hear that you and your band have sold your snare and bought a marimba.
I hear that you and your band have sold your marimba and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
Desert Stars,
Magazine,
The Shadows of Knight,
Ash Ra Tempel,
The Birthday Party,
The Divine Comedy,
Cabaret Voltaire,
Connie Case,
Organ,
The West Coast Pop Art Experimental Band,
Ice-T,
Scion,
Malaria!,
Gerry Rafferty,
Accadde A,
Joy Division,
Deepchord,
Kas Product,
UT,
Bobby Byrd,
Michelle Simonal,
E-Dancer,
Ten City,
Bobby Hutcherson,
Theoretical Girls,
The Neon Judgement,
Aloha Tigers,
Henry Cow,
Duran Duran,
Loose Ends,
David McCallum,
X-101,
David Axelrod,
Isaac Hayes,
Skaos,
The Walker Brothers,
The Trojans,
The Index,
Bobby Sherman,
Shuggie Otis,
The Electric Prunes,
Graham Central Station,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Rowland S Howard / Lydia Lunch,
Althea and Donna,
Shoche,
Judy Mowatt,
The Selecter,
Rotary Connection,
Pylon,
Sun Ra,
Parry Music,
Roy Ayers Ubiquity,
Bill Wells,
Nick Fraelich,
DNA,
The Martian,
Warren Ellis,
Lalann,
Dead Boys,
Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine.
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.