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 Algeria and from Beijing.
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 1969 to 1970.
I'm losing my edge.
To all the kids in London and Portland.
I'm losing my edge to the art-school Shanghai 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the rhodes sounds with much patience.
I was there when Captain Beefheart 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 Smiths to the crunk 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 Quando Quango. All the underground hits.
All David McCallum tracks. I heard you have a vinyl of every Vladislav Delay 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 '90s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Alice Coltrane record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Victims,
In Retrospect,
New York Dolls,
Electric Light Orchestra,
Scott Walker,
Grandmaster Flash,
Sällskapet,
Marc Almond,
Barrington Levy,
Gang Gang Dance,
ABBA,
The American Breed,
Porter Ricks,
Sarah Menescal,
One Last Wish,
Roxette,
T. Rex,
AZ,
The Offenders,
Dual Sessions,
Alison Limerick,
Eli Mardock,
Joe Finger,
Lindisfarne,
Roxy Music,
Altered Images,
Tim Buckley,
Ohio Players,
Hoover,
Rotary Connection,
Model 500,
Stetsasonic,
Metal Thangz,
Brass Construction,
Thinking Fellers Union Local 282,
Art Ensemble Of Chicago,
Joey Negro,
Freddie Wadling,
Scratch Acid,
Angry Samoans,
Notorious Big And Bone Thugs,
Major Organ And The Adding Machine,
Andrew Ashong & Theo Parrish,
The Wake,
Jesper Dahlbäck,
Sound Behaviour,
Cecil Taylor,
Eddi Front,
Japan,
Robert Görl,
Ludus,
Arcadia,
Groovy Waters,
Janne Schatter,
Derrick May,
Flash Fearless,
Barclay James Harvest,
Inner City,
Lou Reed & Metallica,
Soul Sonic Force,
De La Soul & Jungle Brothers,
the Sonics,
Robert Hood,
Alice Coltrane, Alice Coltrane, Alice Coltrane, Alice Coltrane.
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.