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 Singapore and from New York.
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 1973.
I'm losing my edge.
To all the kids in Beijing and Winnipeg.
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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the 808 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 Kevin Saunderson to the disco kids.
I played it at the Astoria.
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 T.S.O.L.. All the underground hits.
All Maurizio tracks. I heard you have a vinyl of every EPMD record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eddi Front,
Tommy Roe,
The Gun Club,
Tres Demented,
CMW,
Cymande,
Shuggie Otis,
Reuben Wilson,
The Names,
Kevin Saunderson,
The West Coast Pop Art Experimental Band,
Camberwell Now,
Donny Hathaway,
Black Bananas,
Aswad,
New Order,
The Buckinghams,
The Remains,
The Fortunes,
Ash Ra Tempel,
The Cosmic Jokers,
Fugazi,
Selector Dub Narcotic,
Flipper,
Mission of Burma,
Sex Pistols,
Anakelly,
Barrington Levy,
Au Pairs,
Bang on a Can All-Stars,
Thinking Fellers Union Local 282,
Main Source,
Simply Red,
Easy Going,
Black Flag,
London Community Gospel Choir,
the Slits,
Louis and Bebe Barron,
PIL,
Scion,
The Seeds,
Godley & Creme,
Robert Görl,
Electric Prunes,
Loose Ends,
Notorious BIG live in Amsterdam,
Gong,
Faust,
Dr. Dre and Snoop Doggy Dog,
Fad Gadget,
B.T. Express,
Yusef Lateef,
Jerry's Kids,
Deepchord,
Davy DMX,
Alphaville,
Soul II Soul,
Ralphi Rosario,
The Wake,
Hot Snakes,
Groovy Waters,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.