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 Rwanda and from Lyon.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1972.
I'm losing my edge.
To all the kids in Mexico City and Columbus.
I'm losing my edge to the art-school Tokyo 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 Lou Reed 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 Siglo XX to the rap 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 The Fire Engines. All the underground hits.
All Subhumans tracks. I heard you have a vinyl of every The Human League record on German import.
I heard that you have a white label of every seminal funk 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 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 Bobby Hutcherson record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boogie Down Productions,
Aloha Tigers,
Swell Maps,
Urselle,
Alphaville,
Warsaw,
Kerri Chandler,
Severed Heads,
The Neon Judgement,
World's Most,
The Tremeloes,
Barrington Levy,
Josef K,
Nico,
Peter & Gordon,
Bobby Sherman,
Al Stewart,
The Blackbyrds,
John Holt,
Half Japanese,
Tres Demented,
The Residents,
The Techniques,
Jimmy McGriff,
The Associates,
Donald Byrd,
Lonnie Liston Smith,
Ultravox,
Mad Mike,
Mission of Burma,
F. McDonald,
The Slits,
R.M.O.,
Schoolly D,
Bizarre Inc.,
Lightning Bolt,
Fat Boys,
China Crisis,
Roxette,
PIL,
The Raincoats,
Spoonie Gee,
Robert Wyatt,
Eurythmics,
Sugar Minott,
The Skatalites,
Public Enemy,
Quando Quango,
Rhythm & Sound,
Rahsaan Roland Kirk,
Barbara Tucker,
The Searchers,
Peter and Kerry,
Little Man,
8 Eyed Spy,
FM Einheit,
Man Eating Sloth,
Supertramp,
Godley & Creme,
The Blues Magoos,
Roxy Music,
Hasil Adkins,
Au Pairs, Au Pairs, Au Pairs, Au Pairs.
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.