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 Guinea 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 1963 to 1971.
I'm losing my edge.
To all the kids in Hong Kong and Jakarta.
I'm losing my edge to the art-school Calgary 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 1976 at the first Chic practice in a loft in New York.
I was working on the guitar 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 Maleditus Sound to the grunge kids.
I played it at CBGB's.
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 David Bowie. All the underground hits.
All Robert Wyatt tracks. I heard you have a vinyl of every Heaven 17 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 '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a LL Cool J record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James White and The Blacks,
Crime,
Depeche Mode,
Japan,
David Bowie,
Q and Not U,
Television,
World's Most,
Minor Threat,
Eyeless In Gaza,
Erykah Badu,
Bobby Sherman,
The Raincoats,
Glenn Branca,
Accadde A,
Pole,
Eden Ahbez,
Rapeman,
Laurel Aitken,
Quantec,
The Moleskins,
The Black Dice,
Jeff Lynne,
The Mojo Men,
The Alarm Clocks,
UT,
Bobby Byrd,
Pet Shop Boys,
Grandmaster Flash,
The Detroit Cobras,
The Electric Prunes,
Todd Rundgren,
Von Mondo,
Terrestrial Tones,
Trumans Water,
Soul II Soul,
Animal Collective,
The Moody Blues,
Archie Shepp,
the Bar-Kays,
Derrick Morgan,
Bill Near,
Darondo,
Alphaville,
Gong,
Ohio Players,
Scratch Acid,
Simply Red,
Orchestral Manoeuvres in the Dark,
the Slits,
Pere Ubu,
The Fall,
The Fortunes,
Excepter,
Neil Young,
Notorious Big And Bone Thugs,
Peter Gordon & Love of Life Orchestra,
Yusef Lateef,
Buzzcocks,
Gil Scott-Heron and Jamie xx,
Lebanon Hanover,
Scientists,
Con Funk Shun,
Soft Cell, Soft Cell, Soft Cell, Soft Cell.
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.