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 Bahrain and from Philadelphia.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Woodstock and Halifax.
I'm losing my edge to the art-school Sao Paulo 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 theremin 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 Con Funk Shun to the grunge kids.
I played it at Trash.
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 Jeff Mills. All the underground hits.
All The Moody Blues tracks. I heard you have a vinyl of every Crispian St. Peters record on German import.
I heard that you have a white label of every seminal crunk 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 rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a London Community Gospel Choir record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hot Snakes,
Mary Jane Girls,
The Real Kids,
Black Flag,
The Gap Band,
Stiv Bators,
John Foxx,
The Doobie Brothers,
Kerrie Biddell,
Porter Ricks,
The Black Dice,
Soft Cell,
Fat Boys,
The Blues Magoos,
Nation of Ulysses,
La Düsseldorf,
Gian Franco Pienzio,
the Normal,
Marmalade,
Junior Murvin,
Amazonics,
X-101,
Masters at Work,
The Move,
The Moody Blues,
The Vogues,
Adolescents,
Kas Product,
Stockholm Monsters,
Blossom Toes,
Rosa Yemen,
Kenny Larkin,
Alton Ellis,
Underground Resistance,
Parry Music,
Oblivians,
Derrick May,
Audionom,
Spoonie Gee,
Gabor Szabo,
Schoolly D,
Boredoms,
Magma,
D'Angelo,
Procol Harum,
Man Eating Sloth,
Agent Orange,
Quando Quango,
June of 44,
Liliput,
B.T. Express,
Depeche Mode,
Bang on a Can All-Stars,
Robert Hood,
Main Source,
Joensuu 1685,
Das Ding,
Duran Duran,
Röyhkä ja Rättö ja Lehtisalo,
Rhythm & Sound,
The Royal Family And The Poor,
Public Enemy,
Be Bop Deluxe,
The Count Five, The Count Five, The Count Five, The Count Five.
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.