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 Gambia and from Manchester.
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 1961 to 1970.
I'm losing my edge.
To all the kids in New York and Toronto.
I'm losing my edge to the art-school Paris 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 Marc Almond to the grime kids.
I played it at Trash.
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 Alice Coltrane. All the underground hits.
All Cluster tracks. I heard you have a vinyl of every The Knickerbockers record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Wally Richardson record.
I hear that you and your band have sold your snare and bought a theremin.
I hear that you and your band have sold your theremin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Charles Mingus,
The Blackbyrds,
In Retrospect,
Peter & Gordon,
Lower 48,
Massinfluence,
Crash Course in Science,
Bad Manners,
Deepchord,
the Association,
John Holt,
the Swans,
Jandek,
David Bowie,
One Last Wish,
New York Dolls,
R.M.O.,
kango's stein massive,
Yaz,
The Count Five,
The Saints,
Angry Samoans,
Kaleidoscope,
Orchestral Manoeuvres in the Dark,
Siouxsie and the Banshees,
Letta Mbulu,
Amazonics,
Fat Boys,
Con Funk Shun,
Ultra Naté,
Mark Hollis,
Wally Richardson,
Crooked Eye,
The Angels of Light,
Peter and Kerry,
Al Stewart,
Reuben Wilson,
Theoretical Girls,
The Dirtbombs,
Half Japanese,
Fear,
Malaria!,
Avey Tare's Slasher Flicks,
Crispy Ambulance,
Bob Dylan,
Robert Wyatt,
Fluxion,
The Happenings,
Aswad,
Erykah Badu,
Gregory Isaacs,
Marshall Jefferson,
The Electric Prunes,
Groovy Waters,
Connie Case,
Public Enemy,
Agent Orange,
Masters at Work,
The Knickerbockers,
Joey Negro,
KRS-One,
Ash Ra Tempel, Ash Ra Tempel, Ash Ra Tempel, Ash Ra Tempel.
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.