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 Montenegro and from Houston.
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 1972.
I'm losing my edge.
To all the kids in Salvador and Tokyo.
I'm losing my edge to the art-school Manchester 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 clarinet 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 Curtis Mayfield to the dance 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 Thee Headcoats. All the underground hits.
All Au Pairs tracks. I heard you have a vinyl of every Carl Craig record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Kool Moe Dee record.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arcadia,
Laurel Aitken,
The Index,
Alice Coltrane,
The Alarm Clocks,
Throbbing Gristle,
Warsaw,
Con Funk Shun,
Soft Cell,
These Immortal Souls,
Ituana,
Bob Dylan,
Judy Mowatt,
Little Man,
Eurythmics,
Unrelated Segments,
Morten Harket,
Minnie Riperton,
Brick,
Sandy B,
Spandau Ballet,
Notorious Big And Bone Thugs,
Average White Band,
Michelle Simonal,
Ken Boothe,
The Star Department,
Andrew Ashong & Theo Parrish,
Louis and Bebe Barron,
John Lydon,
One Last Wish,
The Count Five,
Amon Düül II,
Leonard Cohen,
Drive Like Jehu,
Underground Resistance,
The Buckinghams,
Buzzcocks,
Flipper,
Grandmaster Flash,
Bauhaus,
The Monochrome Set,
Gang Starr,
Scion,
PIL,
Yellowson,
KRS-One,
Tears for Fears,
Fatback Band,
Jacques Brel,
Blancmange,
The Saints,
Darondo,
The United States of America,
Anthony Braxton,
Hardrive,
UT,
8 Eyed Spy,
The Beau Brummels,
The Men They Couldn't Hang,
Peter & Gordon,
The Angels of Light,
Aloha Tigers, Aloha Tigers, Aloha Tigers, Aloha Tigers.
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.