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 Pakistan and from Johannesburg.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Madrid and Jakarta.
I'm losing my edge to the art-school Lyon 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 mellotron sounds with much patience.
I was there when Nile Rodgers 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 Fortunes to the grunge 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 Scott Walker. All the underground hits.
All Underground Resistance tracks. I heard you have a vinyl of every Swell Maps record on German import.
I heard that you have a white label of every seminal techno 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 mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stiv Bators,
Lower 48,
Outsiders,
E-Dancer,
The Mighty Diamonds,
Darondo,
Hardrive,
Beasts of Bourbon,
Marine Girls,
Henry Cow,
Bill Near,
Gang of Four,
Harry Pussy,
The Toasters,
These Immortal Souls,
T.S.O.L.,
Tropical Tobacco,
The Vogues,
The Slackers,
Ohio Players,
Cal Tjader,
The Names,
Todd Rundgren,
Minutemen,
Parry Music,
Au Pairs,
Brick,
Rosa Yemen,
Eden Ahbez,
The Gun Club,
De La Soul & Jungle Brothers,
the Human League,
Cymande,
Sixth Finger,
Blancmange,
Swell Maps,
Art Ensemble Of Chicago,
Nick Cave & The Bad Seeds,
Danielle Patucci,
Lalo Schifrin,
The Red Krayola,
The Smoke,
N.O.R.E. Featuring Pharrell,
Gil Scott Heron,
Marc Romboy vs. Booka Shade,
The Detroit Cobras,
UT,
The Dead C,
a-ha,
Michelle Simonal,
Vainqueur,
Magma,
Tim Buckley,
Connie Case,
Young Marble Giants,
Neu!,
Sunsets and Hearts,
The Wake,
K-Klass,
The West Coast Pop Art Experimental Band,
John Holt, John Holt, John Holt, John Holt.
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.