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 Congo and from Seoul.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Hong Kong and Salvador.
I'm losing my edge to the art-school Seoul 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 güiro sounds with much patience.
I was there when Nile Rodgers 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 Ponytail to the jazz kids.
I played it at the Hacienda.
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 Danielle Patucci. All the underground hits.
All Nils Olav tracks. I heard you have a vinyl of every Popol Vuh record on German import.
I heard that you have a white label of every seminal dance 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 marimba and are throwing your macbook out the window because you want to make something real. You want to make a Stockholm Monsters record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Todd Terry,
Robert Wyatt,
Wings,
Kayak,
Lee Hazlewood,
X-101,
Banda Bassotti,
Soul II Soul,
The American Breed,
Tim Buckley,
Dennis Brown,
The Sonics,
Hardrive,
Bootsy Collins,
Minnie Riperton,
Derrick May,
Thinking Fellers Union Local 282,
Q and Not U,
Oblivians,
The Buckinghams,
Spoonie Gee,
The Raincoats,
Panda Bear,
Masters at Work,
Joey Negro,
T. Rex,
Youth Brigade,
Gregory Isaacs,
Hashim,
Trumans Water,
Main Source,
The Fuzztones,
Adolescents,
Lonnie Liston Smith,
Maleditus Sound,
X-Ray Spex,
Cal Tjader,
Radiohead,
Maurizio,
Pole,
Althea and Donna,
Mad Mike,
London Community Gospel Choir,
The Moody Blues,
KRS-One,
The Busters,
The Smiths,
Howard Jones,
Jerry's Kids,
The Mojo Men,
Barbara Tucker,
The Men They Couldn't Hang,
World's Most,
L. Decosne,
Bang On A Can,
Gil Scott Heron,
Larry & the Blue Notes,
Brand Nubian,
John Lydon,
Joy Division,
John Cale,
Sister Nancy,
T.S.O.L.,
The Standells, The Standells, The Standells, The Standells.
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.