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 Turkey and from Delhi.
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 1968 to 1977.
I'm losing my edge.
To all the kids in New York and Glasgow.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the oboe sounds with much patience.
I was there when Robert Palmer 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 ABC to the grunge 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 Siouxsie and the Banshees. All the underground hits.
All F. McDonald tracks. I heard you have a vinyl of every Minor Threat 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 '80s cut and another box set from the '80s.
I hear you're buying an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Christie,
Moebius,
Black Flag,
Boz Scaggs,
Glenn Branca,
Man Parrish,
Tim Buckley,
John Holt,
Heaven 17,
Junior Murvin,
Kerrie Biddell,
Pierre Henry,
Kenny Larkin,
Ken Boothe,
Sugar Minott,
Negative Approach,
Reuben Wilson,
Bill Near,
Angels of Light & Akron/Family,
Pantytec,
Aswad,
Technova,
Q and Not U,
Man Eating Sloth,
Rhythim Is Rhythim,
Nik Kershaw,
Dual Sessions,
Deutsch Amerikanische Freundschaft,
Echospace,
Graham Central Station,
Michelle Simonal,
Youth Brigade,
Agent Orange,
The Mummies,
Livin' Joy,
Manfred Mann's Earth Band,
R.M.O.,
Connie Case,
Popol Vuh,
A Certain Ratio,
Adolescents,
Symarip,
Rahsaan Roland Kirk,
Eddi Front,
Infiniti,
Marmalade,
John Foxx,
the Human League,
Jacques Brel,
Theoretical Girls,
Moby Grape,
Au Pairs,
Ajijia Myrayebe,
Sällskapet,
Delta 5,
The J.B.'s,
Brand Nubian,
Parry Music,
Ultramagnetic MC's,
Goldenarms,
Sun Ra, Sun Ra, Sun Ra, Sun Ra.
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.