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 Uruguay and from Columbus.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Lyon.
I'm losing my edge to the art-school Houston 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 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 The Moody Blues to the grunge kids.
I played it at the Astoria.
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 Deepchord. All the underground hits.
All Von Mondo tracks. I heard you have a vinyl of every The Divine Comedy 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Yellowson record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David McCallum,
Ronan,
Theoretical Girls,
Tomorrow,
T. Rex,
UT,
Spandau Ballet,
Yusef Lateef,
Malaria!,
Cybotron,
Shoche,
H. Thieme,
Tommy Roe,
Sällskapet,
The Standells,
The Black Dice,
Lou Christie,
Anthony Braxton,
Pagans,
Country Teasers,
the Association,
Frankie Knuckles,
Bootsy's Rubber Band,
Radiopuhelimet,
The Fugs,
Eric Copeland,
The Gun Club,
Josef K,
Nas,
Slick Rick,
Supertramp,
The Pop Group,
Animal Collective,
Crime,
The Associates,
Underground Resistance,
The Doobie Brothers,
Morten Harket,
Tears for Fears,
Graham Central Station,
the Soft Cell,
Lou Reed,
Aloha Tigers,
Q and Not U,
The Wake,
Bluetip,
Sexual Harrassment,
Bang on a Can All-Stars,
Kurtis Blow,
the Normal,
Rahsaan Roland Kirk,
DJ Style,
John Coltrane,
Panda Bear,
Monks,
Barrington Levy,
Lebanon Hanover,
R.M.O.,
Moss Icon,
Peter and Kerry,
Ituana,
Amon Düül II, Amon Düül II, Amon Düül II, Amon Düül II.
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.