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 Bahrain and from Toronto.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Paris and Delhi.
I'm losing my edge to the art-school Winnipeg 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the chamberlin sounds with much patience.
I was there when Donald Fagen 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 Kings Of Tomorrow to the disco kids.
I played it at the Crocodile.
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 Royal Trux. All the underground hits.
All Qualms tracks. I heard you have a vinyl of every The Skatalites record on German import.
I heard that you have a white label of every seminal dance 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 guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Grey Daturas record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Al Stewart,
Sparks,
Yellowson,
Clear Light,
cv313,
Beasts of Bourbon,
Henry Cow,
One Last Wish,
DJ Sneak,
Bang on a Can All-Stars,
In Retrospect,
Animal Collective,
Derrick May,
Scion,
Alton Ellis,
Robert Wyatt,
Y Pants,
Public Image Ltd.,
The Last Poets,
The Mojo Men,
The Modern Lovers,
Nick Cave & The Bad Seeds,
London Community Gospel Choir,
Röyhkä ja Rättö ja Lehtisalo,
Aural Exciters,
Pierre Henry,
Liliput,
DNA,
Average White Band,
Index,
Stockholm Monsters,
Rod Modell,
Gang of Four,
Toni Rubio,
ABC,
Tim Buckley,
Pulsallama,
Bobbi Humphrey,
Marvin Gaye,
Alison Limerick,
The Associates,
Niagra,
Fugazi,
Franke,
Lonnie Liston Smith,
Joe Smooth,
The Seeds,
Bill Near,
De La Soul & Jungle Brothers,
Angry Samoans,
Aaron Thompson,
The American Breed,
The Move,
Notorious Big And Bone Thugs,
Organ,
Sun Ra Arkestra,
Lindisfarne,
Mr. Review,
The Evens,
Lightning Bolt,
Manfred Mann's Earth Band,
the Soft Cell,
Crooked Eye, Crooked Eye, Crooked Eye, Crooked Eye.
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.