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 Tajikistan and from Tehran.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Philadelphia and Madrid.
I'm losing my edge to the art-school Toronto 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 Lewis practice in a loft in Vancouver.
I was working on the theremin sounds with much patience.
I was there when David Bowie 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 Skatalites to the dance kids.
I played it at the Roxy.
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 Con Funk Shun. All the underground hits.
All kango's stein massive tracks. I heard you have a vinyl of every Qualms record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Offenders record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chrome,
Avey Tare & Kría Brekkan,
The Sound,
Stetsasonic,
Hot Snakes,
Jawbox,
Sad Lovers and Giants,
Livin' Joy,
Byron Stingily,
Angry Samoans,
Albert Ayler,
Bush Tetras,
The Detroit Cobras,
The Cosmic Jokers,
Barry Ungar,
KRS-One,
Jeru the Damaja,
Howard Jones,
Metal Thangz,
Fugazi,
Rhythm & Sound,
F. McDonald,
Unrelated Segments,
Todd Terry,
New Order,
Animal Collective,
Fat Boys,
X-Ray Spex,
Radio Birdman,
Lalo Schifrin,
Pantytec,
Stereo Dub,
Fear,
X-101,
Patti Smith,
The Royal Family And The Poor,
Ice-T,
Letta Mbulu,
Amon Düül,
the Bar-Kays,
Roxette,
Nils Olav,
Royal Trux,
Nico,
The Durutti Column,
Grey Daturas,
Thompson Twins,
FM Einheit,
Loose Ends,
Selector Dub Narcotic,
Whodini,
The Monochrome Set,
The Cure,
Sticky Fingaz feat. Raekwon,
Mandrill,
Lee Hazlewood,
Suburban Knight,
The Victims,
Pantaleimon,
Slave,
48th St. Collective,
The Star Department,
The Index,
Gregory Isaacs, Gregory Isaacs, Gregory Isaacs, Gregory Isaacs.
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.