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 Tonga and from Bremen.
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 1970.
I'm losing my edge.
To all the kids in Johannesburg and Paris.
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 arpeggiator 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 The Velvet Underground to the dance kids.
I played it at the 40 Watt.
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 Urselle. All the underground hits.
All The Walker Brothers tracks. I heard you have a vinyl of every Jacques Brel 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 '70s.
I hear you're buying a clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your mellotron and bought an organ.
I hear that you and your band have sold your organ and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Pere Ubu,
Man Parrish,
Fela Kuti,
The Last Poets,
The Wake,
Soft Cell,
Whodini,
Joyce Sims,
Lakeside,
Pole,
Panda Bear,
Mission of Burma,
June Days,
Roxette,
The Sound,
Easy Going,
Japan,
Soul II Soul,
Wings,
Marc Romboy vs. Booka Shade,
Scott Walker,
Tomorrow,
Technova,
Gastr Del Sol,
Boogie Down Productions,
Minny Pops,
Jesper Dahlback,
The Cowsills,
Stiv Bators,
Nik Kershaw,
Television,
Eyeless In Gaza,
Spandau Ballet,
Rotary Connection,
The Associates,
The Mummies,
John Cale,
U.S. Maple,
Masters at Work,
The Electric Prunes,
Junior Murvin,
Josef K,
Bad Manners,
Johnny Osbourne,
10cc,
Aloha Tigers,
Groovy Waters,
Sparks,
Darondo,
The Velvet Underground,
Howard Jones,
Joy Division,
Bobby Womack,
Ken Boothe,
Agent Orange,
Danielle Patucci,
Jacques Brel,
Ralphi Rosario,
Kaleidoscope,
Crash Course in Science,
DJ Style, DJ Style, DJ Style, DJ Style.
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.