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 Costa Rica and from Johannesburg.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Accra and Lagos.
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 1973 at the first Television practice in a loft in New York.
I was working on the rhodes 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 Howard Jones to the techno 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 Cecil Taylor. All the underground hits.
All Anakelly tracks. I heard you have a vinyl of every Simply Red record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Todd Rundgren record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sister Nancy,
Althea and Donna,
Byron Stingily,
Fela Kuti,
The Martian,
L. Decosne,
Electric Light Orchestra,
the Germs,
Cybotron,
John Lydon,
Lafayette Afro Rock Band,
Man Eating Sloth,
Carl Craig,
Ohio Players,
The Electric Prunes,
Scott Walker + Sunn O))),
Groovy Waters,
Barbara Tucker,
The Dead C,
Wally Richardson,
Eyeless In Gaza,
Orchestral Manoeuvres in the Dark,
Bang on a Can All-Stars,
Ralphi Rosario,
Junior Murvin,
Nils Olav,
PIL,
The Blues Magoos,
Dark Day,
Roy Ayers Ubiquity,
Roxette,
Kool Moe Dee,
Malaria!,
Terrestrial Tones,
Maleditus Sound,
Harpers Bizarre,
Letta Mbulu,
The Last Poets,
a-ha,
Ossler,
Heaven 17,
Rowland S Howard / Lydia Lunch,
Barclay James Harvest,
Marmalade,
Sun Ra Arkestra,
John Cale,
Vaughan Mason & Crew,
World's Most,
Tres Demented,
Young Marble Giants,
Yaz,
Wire,
Selector Dub Narcotic,
Brass Construction,
Scott Walker,
Mandrill,
Pere Ubu,
Mo-Dettes,
Fifty Foot Hose,
Babytalk,
The Move,
Reagan Youth,
DeepChord presents Echospace,
Arcadia, Arcadia, Arcadia, Arcadia.
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.