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 Solomon Islands and from Bremen.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1970.
I'm losing my edge.
To all the kids in Johannesburg and Jakarta.
I'm losing my edge to the art-school Portland 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the spring reverb sounds with much patience.
I was there when Donald Fagen 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 Seeds to the rap kids.
I played it at the Troubador.
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 Faraquet. All the underground hits.
All the Normal tracks. I heard you have a vinyl of every K-Klass record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Gories record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Niagra,
Jacques Brel,
Sound Behaviour,
Boredoms,
Bauhaus,
Vladislav Delay,
Q and Not U,
Cabaret Voltaire,
Siglo XX,
Major Organ And The Adding Machine,
Wolf Eyes,
Lightning Bolt,
New Order,
Gang Gang Dance,
Barry Ungar,
Heaven 17,
Thee Headcoats,
Neil Young & Crazy Horse,
F. McDonald,
The Modern Lovers,
Tom Boy,
Lakeside,
Derrick Morgan,
Dave Gahan,
Fugazi,
Pantaleimon,
Grauzone,
Nik Kershaw,
Lou Reed & Metallica,
Howard Jones,
Public Image Ltd.,
Brand Nubian,
Bootsy Collins,
Andrew Ashong & Theo Parrish,
Procol Harum,
The Golliwogs,
The Cowsills,
Johnny Clarke,
Beasts of Bourbon,
The Music Machine,
Fela Kuti,
Marmalade,
James Chance & The Contortions,
Jesper Dahlback,
Lou Christie,
Rod Modell,
A Certain Ratio,
Talk Talk,
Subhumans,
Sugar Minott,
Dr. Dre and Snoop Doggy Dog,
Drive Like Jehu,
The Birthday Party,
Laurel Aitken,
Fear,
Junior Murvin,
Bobby Hutcherson,
Panda Bear,
Mandrill,
The Detroit Cobras,
Altered Images,
Hot Snakes,
Depeche Mode, Depeche Mode, Depeche Mode, Depeche Mode.
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.