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 United States and from New York.
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 1971.
I'm losing my edge.
To all the kids in Cairo and Mumbai.
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 808 sounds with much patience.
I was there when Michael McDonald 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 Marine Girls to the electroclash 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 Adolescents. All the underground hits.
All Marvin Gaye tracks. I heard you have a vinyl of every Spoonie Gee 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 '60s cut and another box set from the '70s.
I hear you're buying a clarinet and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Junior Murvin record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Dead Boys,
Sixth Finger,
The Misunderstood,
Crooked Eye,
Jerry's Kids,
Echo & the Bunnymen,
Boogie Down Productions,
Faraquet,
Selector Dub Narcotic,
Fat Boys,
The Detroit Cobras,
Audionom,
One Last Wish,
T.S.O.L.,
Zero Boys,
Röyhkä ja Rättö ja Lehtisalo,
Hasil Adkins,
Nirvana,
Judy Mowatt,
Main Source,
Brick,
Nation of Ulysses,
Sällskapet,
Boredoms,
Stetsasonic,
The Modern Lovers,
Grandmaster Flash,
Kool G Rap & DJ Polo,
L. Decosne,
Jeru the Damaja,
Reuben Wilson,
MDC,
Bill Near,
Rakim,
Derrick Morgan,
The Doobie Brothers,
Swell Maps,
Motorama,
The Chocolate Watch Band,
Joe Smooth,
The Red Krayola,
The Velvet Underground,
Ludus,
Das Ding,
Black Sheep,
Black Flag,
Cymande,
Lindisfarne,
Girls At Our Best!,
Lalann,
The Men They Couldn't Hang,
Super Lover Cee & Casanova Rud,
Popol Vuh,
Model 500,
Banda Bassotti,
Soft Cell,
Todd Rundgren,
Icehouse,
Los Fastidios,
U.S. Maple,
Jerry Gold Smith,
The Tremeloes,
Connie Case, Connie Case, Connie Case, Connie Case.
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.