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 Uganda and from Philadelphia.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Taipei and Cairo.
I'm losing my edge to the art-school Winnipeg 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the harpsichord 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 ABBA to the rap 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 Bill Near. All the underground hits.
All 8 Eyed Spy tracks. I heard you have a vinyl of every The Fire Engines record on German import.
I heard that you have a white label of every seminal electroclash 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 linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacques Brel,
Subhumans,
Alison Limerick,
AZ,
Neil Young,
The Toasters,
Albert Ayler,
New York Dolls,
Blossom Toes,
The Blackbyrds,
Whodini,
The Move,
Delta 5,
Al Stewart,
Second Layer,
Roger Hodgson,
Mandrill,
Q and Not U,
The Walker Brothers,
Wire,
Das Ding,
Cal Tjader,
The Dave Clark Five,
Avey Tare & Kría Brekkan,
Röyhkä ja Rättö ja Lehtisalo,
The Smoke,
The Moody Blues,
Con Funk Shun,
Depeche Mode,
Avey Tare's Slasher Flicks,
Index,
DJ Style,
Dark Day,
Nick Fraelich,
Chris Corsano,
Intrusion,
Pharaoh Sanders and the Fire Engines,
Lalo Schifrin,
Chrome,
David Axelrod,
U.S. Maple,
Neu!,
Robert Hood,
Archie Shepp,
the Sonics,
Accadde A,
Henry Cow,
The Music Machine,
Gong,
Groovy Waters,
The Birthday Party,
Arab on Radar,
Stereo Dub,
Supertramp,
Popol Vuh,
Peter Gordon & Love of Life Orchestra,
Lonnie Liston Smith,
Andrew Hill,
Scott Walker,
Silicon Teens,
Chris & Cosey,
Fear, Fear, Fear, Fear.
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.