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 Saudi Arabia 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 1968 to 1976.
I'm losing my edge.
To all the kids in Portland and Toronto.
I'm losing my edge to the art-school Columbus 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the organ 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 Fort Wilson Riot to the jazz kids.
I played it at CBGB's.
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 Mo-Dettes. All the underground hits.
All The J.B.'s tracks. I heard you have a vinyl of every N.O.R.E. Featuring Pharrell record on German import.
I heard that you have a white label of every seminal rock 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 sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Con Funk Shun record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
KRS-One,
Peter Gordon & Love of Life Orchestra,
Ornette Coleman,
Scratch Acid,
The Fortunes,
Half Japanese,
Spandau Ballet,
Altered Images,
Panda Bear,
Gastr Del Sol,
PIL,
Chris & Cosey,
Depeche Mode,
Camberwell Now,
Agent Orange,
the Bar-Kays,
the Soft Cell,
Swans,
Country Teasers,
The Fire Engines,
Gerry Rafferty,
Schoolly D,
Jerry's Kids,
The Mighty Diamonds,
Glenn Branca,
Alison Limerick,
Eric B and Rakim,
Pharoah Sanders,
Scion,
Mars,
Technova,
The Peanut Butter Conspiracy,
Sugar Minott,
Faust,
Juan Atkins,
The Martian,
Urselle,
Boredoms,
Pierre Henry,
Swell Maps,
The Five Americans,
the Slits,
ABC,
Mr. Review,
Von Mondo,
The Searchers,
T. Rex,
Funky Four + One,
Lee Hazlewood,
Kerri Chandler,
Bang On A Can,
Notorious Big And Bone Thugs,
the Human League,
Surgeon,
Manfred Mann's Earth Band,
The Vogues,
La Düsseldorf,
Nas, Nas, Nas, Nas.
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.