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 Brazil and from Lagos.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Beijing and Johannesburg.
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 theremin sounds with much patience.
I was there when Holger Czukay 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 Deepchord to the crunk 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 Country Teasers. All the underground hits.
All Joyce Sims tracks. I heard you have a vinyl of every Minny Pops record on German import.
I heard that you have a white label of every seminal dance 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 a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks 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?
Pussy Galore,
Sonny Sharrock,
Aural Exciters,
Supertramp,
Selector Dub Narcotic,
Ultimate Spinach,
the Bar-Kays,
Lebanon Hanover,
Nik Kershaw,
K-Klass,
The Modern Lovers,
The Misunderstood,
Graham Central Station,
Alton Ellis,
Thinking Fellers Union Local 282,
Rapeman,
The Trojans,
KRS-One,
Barclay James Harvest,
Dennis Brown,
Man Parrish,
Tom Boy,
Deakin,
X-101,
T.S.O.L.,
Blossom Toes,
Magma,
Niagra,
Letta Mbulu,
Moebius,
Stereo Dub,
Andrew Hill,
Blake Baxter,
World's Most,
John Lydon,
Andrew Ashong & Theo Parrish,
Joyce Sims,
Ten City,
The Raincoats,
Justin Hinds & The Dominoes,
The Royal Family And The Poor,
Howard Jones,
DJ Sneak,
Franke,
John Holt,
D'Angelo,
Bobby Sherman,
Jerry's Kids,
Teenage Jesus and the Jerks,
Adolescents,
Scion,
Gil Scott Heron,
New Age Steppers,
Crash Course in Science,
Gian Franco Pienzio,
Peter Gordon & Love of Life Orchestra,
Tim Buckley,
The Cosmic Jokers,
The Barracudas,
Eli Mardock,
OOIOO,
Procol Harum,
The Young Rascals, The Young Rascals, The Young Rascals, The Young Rascals.
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.