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 Japan 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 1968 to 1970.
I'm losing my edge.
To all the kids in Paris and Philadelphia.
I'm losing my edge to the art-school Tokyo 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the theremin sounds with much patience.
I was there when Donald Fagen 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 Music Machine to the funk 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 Amon Düül. All the underground hits.
All Barbara Tucker tracks. I heard you have a vinyl of every The Techniques record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Infiniti record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Enemy,
Sugar Minott,
Mary Jane Girls,
Suicide,
Thee Headcoats,
Delon & Dalcan,
The Busters,
Al Stewart,
The Cosmic Jokers,
Cymande,
Crispian St. Peters,
Lindisfarne,
Bauhaus,
China Crisis,
Lonnie Liston Smith,
Crooked Eye,
The Techniques,
John Holt,
Cameo,
Camouflage,
The Seeds,
Audionom,
Idris Muhammad,
Peter Gordon & Love of Life Orchestra,
Index,
Excepter,
Scott Walker,
Little Man,
The Beau Brummels,
Rhythim Is Rhythim,
The Motions,
Glenn Branca,
Michelle Simonal,
Laurel Aitken,
Sly & The Family Stone,
Dorothy Ashby,
The Blues Magoos,
Skarface,
Nils Olav,
Rekid,
Camron Feat. Memphis Bleek And Beenie Seigel,
Pagans,
The Searchers,
The Flesh Eaters,
T. Rex,
Gerry Rafferty,
Kurtis Blow,
Can,
Andrew Hill,
This Heat,
Model 500,
The Golliwogs,
X-101,
Skaos,
Tres Demented,
Girls At Our Best!,
Q65,
the Sonics,
The Moleskins,
The American Breed,
Joe Smooth,
Fifty Foot Hose,
Jeru the Damaja, Jeru the Damaja, Jeru the Damaja, Jeru the Damaja.
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.