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 United States and from Woodstock.
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 1965 to 1976.
I'm losing my edge.
To all the kids in London and Manila.
I'm losing my edge to the art-school Mexico City 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 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 The Fugs to the techno kids.
I played it at the 40 Watt.
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 Roy Ayers. All the underground hits.
All Kayak tracks. I heard you have a vinyl of every Nation of Ulysses record on German import.
I heard that you have a white label of every seminal grime 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 a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drive Like Jehu,
Radiopuhelimet,
Laurel Aitken,
Vladislav Delay,
Sugar Minott,
The American Breed,
The Modern Lovers,
Sonny Sharrock,
Wolf Eyes,
Flash Fearless,
Unrelated Segments,
Chris Corsano,
T. Rex,
Oneida,
Stetsasonic,
Monolake,
Rosa Yemen,
Bauhaus,
Sly & The Family Stone,
The Names,
The Residents,
Marvin Gaye,
The Fuzztones,
Mark Hollis,
Arab on Radar,
D'Angelo,
Monks,
Erykah Badu,
Gil Scott-Heron and Jamie xx,
The Men They Couldn't Hang,
The Pop Group,
Graham Central Station,
Barrington Levy,
Pussy Galore,
The Saints,
Bob Dylan,
Siouxsie and the Banshees,
The Fire Engines,
The Misunderstood,
Thinking Fellers Union Local 282,
Yazoo,
Heavy D & The Boyz,
The Sisters of Mercy,
Bill Near,
London Community Gospel Choir,
Reuben Wilson,
The Litter,
Frankie Knuckles,
Gary Puckett & The Union Gap,
Popol Vuh,
Zero Boys,
The Neon Judgement,
Sticky Fingaz feat. Raekwon,
Intrusion,
David Bowie,
DJ Sneak,
FM Einheit,
The Mummies,
Eric Copeland,
Franke,
Al Stewart,
LL Cool J, LL Cool J, LL Cool J, LL Cool J.
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.