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 Israel and from Copenhagen.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Bremen and Woodstock.
I'm losing my edge to the art-school Woodstock 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 Lewis practice in a loft in Vancouver.
I was working on the spring reverb 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 Todd Rundgren to the dance kids.
I played it at the Astoria.
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 The Grass Roots. All the underground hits.
All Judy Mowatt tracks. I heard you have a vinyl of every F. McDonald 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 '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a a-ha record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alice Coltrane,
Shuggie Otis,
Niagra,
Wally Richardson,
Au Pairs,
The Red Krayola,
Vaughan Mason & Crew,
Deepchord,
Organ,
Mandrill,
Kings Of Tomorrow,
X-102,
The Pop Group,
Matthew Bourne,
8 Eyed Spy,
Red Lorry Yellow Lorry,
the Bar-Kays,
MC5,
Crime,
Banda Bassotti,
Leonard Cohen,
Make Up,
Camberwell Now,
Fat Boys,
Stetsasonic,
Kevin Saunderson,
Danielle Patucci,
Zero Boys,
The Residents,
Gang Starr,
PIL,
Visage,
Man Parrish,
Electric Prunes,
Eric Dolphy,
Sticky Fingaz feat. Raekwon,
Barry Ungar,
The Zeros,
Rufus Thomas,
Amazonics,
Robert Görl,
The Fall,
Graham Central Station,
Amon Düül,
Public Image Ltd.,
the Fania All-Stars,
Country Teasers,
Arab on Radar,
Flamin' Groovies,
Laurel Aitken,
The Jesus and Mary Chain,
Fluxion,
Index,
Marine Girls,
Theoretical Girls,
Underground Resistance,
Bush Tetras,
Heavy D & The Boyz,
Lou Reed,
Trumans Water,
U.S. Maple,
The Peanut Butter Conspiracy,
Slick Rick, Slick Rick, Slick Rick, Slick Rick.
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.