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 Guyana and from Houston.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Philadelphia and Taipei.
I'm losing my edge to the art-school Mexico City 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the clarinet 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 Jimmy McGriff to the funk kids.
I played it at the 40 Watt.
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 Mr. Review. All the underground hits.
All Little Man tracks. I heard you have a vinyl of every Public Enemy 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 '90s.
I hear you're buying a guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Pharoah Sanders record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pierre Henry,
Japan,
Henry Cow,
The Cosmic Jokers,
Don Cherry,
Bobby Sherman,
The Young Rascals,
Maleditus Sound,
Ash Ra Tempel,
ABBA,
the Normal,
Pete Rock & C.L. Smooth,
Y Pants,
Make Up,
Super Lover Cee & Casanova Rud,
DJ Sneak,
Dennis Brown,
The Flesh Eaters,
Nik Kershaw,
Country Joe & The Fish,
The Remains,
Sällskapet,
Deutsch Amerikanische Freundschaft,
EPMD,
Slick Rick,
Wighnomy Brothers & Robag Wruhme,
Vaughan Mason & Crew,
Bill Wells,
The Gap Band,
Letta Mbulu,
The Slackers,
Eyeless In Gaza,
Joy Division,
Suburban Knight,
Barclay James Harvest,
Skriet,
Average White Band,
Selector Dub Narcotic,
Section 25,
Tubeway Army,
Johnny Osbourne,
Grandmaster Flash and the Furious Five,
The Sound,
Sparks,
Eve St. Jones,
Isaac Hayes,
Ice-T,
The Kinks,
Ronan,
Mo-Dettes,
Urselle,
Echo & the Bunnymen,
James White and The Blacks,
Second Layer,
Delon & Dalcan,
Soul Sonic Force,
LL Cool J,
Barry Ungar,
Talk Talk,
Orchestral Manoeuvres in the Dark,
Main Source,
Porter Ricks,
The Mojo Men, The Mojo Men, The Mojo Men, The Mojo Men.
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.