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 Oman and from Winnipeg.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Toronto and Bremen.
I'm losing my edge to the art-school Tehran 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 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 The Birthday Party to the electroclash kids.
I played it at Cafe Wha.
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 Crash Course in Science. All the underground hits.
All Morten Harket tracks. I heard you have a vinyl of every Drive Like Jehu record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Second Layer record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hot Snakes,
Lizzy Mercier Descloux,
Laurel Aitken,
The Last Poets,
Eurythmics,
Shoche,
Sixth Finger,
Joe Smooth,
Kings Of Tomorrow,
Jimmy McGriff,
Inner City,
Fear,
Lucky Dragons,
Jeff Lynne,
The Electric Prunes,
Robert Hood,
Drive Like Jehu,
Nas,
Soulsonic Force,
Quadrant,
Nation of Ulysses,
Gabor Szabo,
Urselle,
Connie Case,
Bang On A Can,
James Chance & The Contortions,
Lou Christie,
Neil Young & Crazy Horse,
Severed Heads,
Camberwell Now,
Bobbi Humphrey,
Judy Mowatt,
Franke,
Section 25,
DeepChord presents Echospace,
Davy DMX,
Chrome,
Henry Cow,
The Gladiators,
Gil Scott-Heron and Jamie xx,
The Fall,
Peter and Kerry,
Babytalk,
Siglo XX,
Easy Going,
The Young Rascals,
The Residents,
Marine Girls,
Robert Wyatt,
Barbara Tucker,
Pierre Henry,
Avey Tare & Kría Brekkan,
The Divine Comedy,
Popol Vuh,
Scan 7,
Cheater Slicks,
Kas Product,
Flamin' Groovies,
The Pop Group,
The Doobie Brothers,
The Cramps,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.