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 Czech Republic and from Taipei.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Taipei and Hong Kong.
I'm losing my edge to the art-school Seoul 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 chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Junior Murvin to the rap kids.
I played it at the Roxy.
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 Crash Course in Science. All the underground hits.
All Bizarre Inc. tracks. I heard you have a vinyl of every Unrelated Segments record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a chamberlin 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 theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The J.B.'s,
Tommy Roe,
Bizarre Inc.,
Fear,
Robert Hood,
The Vogues,
The Human League,
X-102,
Gang Starr,
Cheater Slicks,
Rapeman,
Isaac Hayes,
Judy Mowatt,
Jeff Mills,
Agitation Free,
Lyres,
Nico,
Sunsets and Hearts,
Robert Görl,
Boz Scaggs,
Deakin,
Terry Callier,
Crispian St. Peters,
One Last Wish,
Brand Nubian,
Alton Ellis,
Nirvana,
Pere Ubu,
Alison Limerick,
The Mighty Diamonds,
Excepter,
Warren Ellis,
Cybotron,
Bad Manners,
Index,
Fort Wilson Riot,
The Toasters,
James Chance & The Contortions,
Black Moon,
Minutemen,
Gil Scott Heron,
The Real Kids,
Flipper,
David McCallum,
The Doors,
Khruangbin,
The Dirtbombs,
ABC,
Laurel Aitken,
Underground Resistance,
Matthew Halsall,
Lucky Dragons,
Thinking Fellers Union Local 282,
48th St. Collective,
The Busters,
Deutsch Amerikanische Freundschaft,
The Shadows of Knight,
Scratch Acid,
Circle Jerks,
Electric Prunes,
the Normal,
Boredoms, Boredoms, Boredoms, Boredoms.
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.