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 Mauritania and from Salvador.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Calgary and Accra.
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 guitar 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 Khruangbin to the rock kids.
I played it at CBGB's.
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 Supertramp. All the underground hits.
All MC5 tracks. I heard you have a vinyl of every the Soft Cell 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 '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Slick Rick record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Sherman,
Jesper Dahlback,
Deakin,
Don Cherry,
Ituana,
cv313,
Sunsets and Hearts,
Kauko Röyhkä ja Narttu,
Magazine,
The Associates,
Aural Exciters,
Alice Coltrane,
a-ha,
Khruangbin,
Guru Guru,
The Fuzztones,
Pierre Henry,
Scratch Acid,
Sarah Menescal,
JFA,
X-102,
Dorothy Ashby,
Bill Near,
Dawn Penn,
kango's stein massive,
The Gories,
Agitation Free,
Rites of Spring,
Strawberry Alarm Clock,
Matthew Bourne,
Marshall Jefferson,
Lakeside,
the Swans,
The Last Poets,
Gang Gang Dance,
PIL,
KRS-One,
Suburban Knight,
Tim Buckley,
Television Personalities,
Massinfluence,
Pantytec,
Robert Hood,
Gong,
Teenage Jesus and the Jerks,
Jimmy McGriff,
U.S. Maple,
DNA,
Pete Rock & C.L. Smooth,
Funkadelic,
The Martian,
Cecil Taylor,
Pet Shop Boys,
X-101,
The Fall,
Juan Atkins,
Kenny Larkin,
Harmonia,
John Holt,
Black Pus,
Reagan Youth,
Anakelly, Anakelly, Anakelly, Anakelly.
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.