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 Pakistan and from Stockholm.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Lille and Sao Paulo.
I'm losing my edge to the art-school Copenhagen 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 marimba sounds with much patience.
I was there when Lou Reed 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 Hasil Adkins to the grunge 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 The Victims. All the underground hits.
All Porter Ricks tracks. I heard you have a vinyl of every The Beau Brummels record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Aural Exciters record.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Names,
June Days,
Avey Tare's Slasher Flicks,
Oppenheimer Analysis,
Eric B and Rakim,
F. McDonald,
Silicon Teens,
Rhythim Is Rhythim,
Lizzy Mercier Descloux,
Rod Modell,
Ohio Players,
Franke,
Lucky Dragons,
Todd Terry,
Robert Hood,
Blake Baxter,
Delon & Dalcan,
Metal Thangz,
Jeff Lynne,
Alphaville,
Andrew Hill,
Johnny Clarke,
The Human League,
Electric Light Orchestra,
Barry Ungar,
Negative Approach,
Bobby Byrd,
Yaz,
Drive Like Jehu,
Excepter,
Urselle,
Bobby Sherman,
Dr. Dre and Snoop Doggy Dog,
ABBA,
Johnny Osbourne,
Todd Rundgren,
Country Joe & The Fish,
Archie Shepp,
Notorious BIG live in Amsterdam,
Traffic Nightmare,
Depeche Mode,
Lalo Schifrin,
Ralphi Rosario,
Shuggie Otis,
Loose Ends,
The Fugs,
the Sonics,
The Electric Prunes,
the Swans,
Bluetip,
Matthew Bourne,
Animal Collective,
UT,
The Jesus and Mary Chain,
Ultra Naté,
Alice Coltrane,
Deutsch Amerikanische Freundschaft,
Motorama,
Faust,
Art Ensemble Of Chicago,
Heavy D & The Boyz,
The Neon Judgement, The Neon Judgement, The Neon Judgement, The Neon Judgement.
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.