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 Mali and from Madrid.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Mumbai and Lyon.
I'm losing my edge to the art-school Edmonton 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 oboe sounds with much patience.
I was there when Holger Czukay 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 Country Joe & The Fish to the rock 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 Aural Exciters. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every Tomorrow record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Barclay James Harvest record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Gang Dance,
Newcleus,
Reuben Wilson,
Freddie Wadling,
James White and The Blacks,
Gian Franco Pienzio,
Connie Case,
Andrew Hill,
Peter and Kerry,
Blossom Toes,
China Crisis,
The Move,
Public Enemy,
Gary Puckett & The Union Gap,
The Moleskins,
Pylon,
David Axelrod,
Jacob Miller,
Boredoms,
The Shadows of Knight,
The Residents,
Minny Pops,
The Cramps,
Kool Moe Dee,
The Gun Club,
Grauzone,
Drive Like Jehu,
The Gap Band,
Ash Ra Tempel,
JFA,
Section 25,
Monks,
L. Decosne,
Animal Collective,
Grandmaster Flash and the Furious Five,
E-Dancer,
R.M.O.,
DNA,
Royal Trux,
Scratch Acid,
Fat Boys,
David Bowie,
Urselle,
Mr. Review,
Nick Cave & The Bad Seeds,
Justin Hinds & The Dominoes,
Lou Christie,
The Electric Prunes,
Youth Brigade,
Organ,
Brick,
the Human League,
The Peanut Butter Conspiracy,
Gichy Dan,
The Selecter,
Infiniti,
Barbara Tucker,
Procol Harum,
Zapp,
Ohio Players,
Livin' Joy,
June Days, June Days, June Days, June Days.
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.