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 Norway and from Woodstock.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Shanghai and Manchester.
I'm losing my edge to the art-school Columbus 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 Tom Verlaine 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 Robert Wyatt to the techno 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 Roxette. All the underground hits.
All Bootsy Collins tracks. I heard you have a vinyl of every Yellowson 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 '80s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a John Holt record.
I hear that you and your band have sold your snare and bought a sitar.
I hear that you and your band have sold your sitar and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DeepChord presents Echospace,
Shuggie Otis,
Motorama,
The Modern Lovers,
Crispy Ambulance,
The Star Department,
Icehouse,
Strawberry Alarm Clock,
Blancmange,
Scratch Acid,
Procol Harum,
Charles Mingus,
Roy Ayers Ubiquity,
Chris & Cosey,
Mars,
Grauzone,
Matthew Halsall,
Dawn Penn,
Orchestral Manoeuvres in the Dark,
Isaac Hayes,
Sound Behaviour,
Eurythmics,
Grandmaster Flash,
The Flesh Eaters,
Reagan Youth,
Ken Boothe,
Minny Pops,
Gang Starr,
Goldenarms,
The Wake,
Sun Ra Arkestra,
Joyce Sims,
Soft Machine,
The Associates,
Neu!,
The Dirtbombs,
Ten City,
Liliput,
Bang on a Can All-Stars,
Electric Light Orchestra,
Peter and Kerry,
Unrelated Segments,
Todd Rundgren,
Kool G Rap & DJ Polo,
Pantaleimon,
Au Pairs,
Black Bananas,
Notorious Big And Bone Thugs,
Kool Moe Dee,
Guru Guru,
The Mighty Diamonds,
8 Eyed Spy,
Eric Dolphy,
The Misunderstood,
Babytalk,
Scrapy,
Altered Images,
N.O.R.E. Featuring Pharrell,
Bang On A Can,
Boogie Down Productions,
Whodini,
Heaven 17, Heaven 17, Heaven 17, Heaven 17.
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.