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 Houston.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Columbus and Beijing.
I'm losing my edge to the art-school Shanghai 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 1976 at the first Chic practice in a loft in New York.
I was working on the spring reverb 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 Crash Course in Science to the punk kids.
I played it at the Hacienda.
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 Grass Roots. All the underground hits.
All The Angels of Light tracks. I heard you have a vinyl of every Nas 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 '70s cut and another box set from the '70s.
I hear you're buying an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Invisible,
Godley & Creme,
The Move,
The Techniques,
the Association,
Cheater Slicks,
Althea and Donna,
Gregory Isaacs,
Jeru the Damaja,
Scott Walker,
Jacques Brel,
X-101,
B.T. Express,
Yazoo,
Arcadia,
Lizzy Mercier Descloux,
Alison Limerick,
Eric B and Rakim,
Bobby Byrd,
Bootsy's Rubber Band,
Alton Ellis,
The Modern Lovers,
Thee Headcoats,
Delon & Dalcan,
The Blues Magoos,
Clear Light,
The Standells,
Jerry's Kids,
Deepchord,
Alphaville,
Drive Like Jehu,
Hot Snakes,
Harpers Bizarre,
Harry Pussy,
Essential Logic,
Fela Kuti,
DeepChord presents Echospace,
Slick Rick,
The Fortunes,
The Fall,
The Litter,
Juan Atkins,
Girls At Our Best!,
Minutemen,
Mary Jane Girls,
Mo-Dettes,
Derrick Morgan,
David Bowie,
Monks,
ABBA,
Terrestrial Tones,
Oblivians,
Janne Schatter,
Jimmy McGriff,
The Sound,
Roger Hodgson,
Second Layer,
The Smiths,
D'Angelo,
The Moleskins,
Kool Moe Dee,
Kango’s Stein Massive,
Deakin,
a-ha, a-ha, a-ha, a-ha.
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.