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 the UAE and from Glasgow.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Copenhagen and Milan.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the synthesizer 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 Fugazi to the crunk 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 Joensuu 1685. All the underground hits.
All Kevin Saunderson tracks. I heard you have a vinyl of every Laurel Aitken record on German import.
I heard that you have a white label of every seminal crunk 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 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 Susan Cadogan record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Röyhkä ja Rättö ja Lehtisalo,
Sad Lovers and Giants,
Mad Mike,
The Gap Band,
Ohio Players,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Warsaw,
Stetsasonic,
La Düsseldorf,
Audionom,
Stiv Bators,
Boogie Down Productions,
Babytalk,
The Sound,
The Skatalites,
Rites of Spring,
Electric Prunes,
Gang Starr,
Marvin Gaye,
Second Layer,
Intrusion,
Barbara Tucker,
Visage,
Thee Headcoats,
E-Dancer,
Main Source,
Todd Rundgren,
Marine Girls,
Pet Shop Boys,
Sandy B,
Eve St. Jones,
Red Lorry Yellow Lorry,
Sun Ra Arkestra,
Lou Reed & Metallica,
Hoover,
The Birthday Party,
The Star Department,
Morten Harket,
Slick Rick,
the Human League,
Chris Corsano,
Graham Central Station,
Lower 48,
Deepchord,
Rahsaan Roland Kirk,
B.T. Express,
Deadbeat,
The Young Rascals,
Unwound,
Althea and Donna,
The Music Machine,
Marshall Jefferson,
Erykah Badu,
Maurizio,
Scion,
Mars,
The Royal Family And The Poor,
Sarah Menescal,
Cabaret Voltaire,
Blossom Toes,
Don Cherry,
Aaron Thompson,
the Association, the Association, the Association, the Association.
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.