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 Armenia and from Glasgow.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Mexico City and Seoul.
I'm losing my edge to the art-school Salvador 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 Bronski Beat practice in a loft in Brixton.
I was working on the rhodes sounds with much patience.
I was there when Lou Reed 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 Lou Christie to the disco kids.
I played it at Cafe Wha.
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 ABC. All the underground hits.
All The Neon Judgement tracks. I heard you have a vinyl of every the Germs record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Subhumans 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?
The Associates,
Faust,
Patti Smith,
David Axelrod,
Zapp,
Black Pus,
DJ Sneak,
The Neon Judgement,
Donny Hathaway,
The Dirtbombs,
Cecil Taylor,
T. Rex,
Avey Tare's Slasher Flicks,
Infiniti,
Wire,
The Count Five,
Aural Exciters,
CMW,
H. Thieme,
cv313,
Quadrant,
Procol Harum,
The Monks,
Graham Central Station,
Loose Ends,
Niagra,
It's A Beautiful Day,
Boogie Down Productions,
Sly & The Family Stone,
Ultimate Spinach,
World's Most,
Minor Threat,
Mission of Burma,
OOIOO,
Lucky Dragons,
Eric Dolphy,
Ultra Naté,
Robert Wyatt,
Terry Callier,
The J.B.'s,
Warren Ellis,
London Community Gospel Choir,
Circle Jerks,
Section 25,
Fluxion,
Aswad,
Erasure,
LL Cool J,
Urselle,
Tommy Roe,
JFA,
Kevin Saunderson,
The Jesus and Mary Chain,
Barbara Tucker,
Kenny Larkin,
Duran Duran,
The Cosmic Jokers,
Laurel Aitken,
Supertramp,
Grandmaster Flash and the Furious Five,
Grandmaster Flash,
Country Joe & The Fish,
The United States of America,
The Pop Group,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.