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 Iraq and from Tehran.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Columbus and Houston.
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 Bronski Beat practice in a loft in Brixton.
I was working on the 808 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 Alton Ellis to the electroclash 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 Japan. All the underground hits.
All Glenn Branca tracks. I heard you have a vinyl of every The Misunderstood 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 '90s.
I hear you're buying an arpeggiator and a rhodes 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 spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron 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?
The Count Five,
Wally Richardson,
Danielle Patucci,
Strawberry Alarm Clock,
Grandmaster Flash,
Godley & Creme,
Bill Wells,
Con Funk Shun,
Aloha Tigers,
Lungfish,
Marshall Jefferson,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Negative Approach,
The Searchers,
Lightning Bolt,
Sound Behaviour,
Minor Threat,
Bang On A Can,
Tears for Fears,
Sunsets and Hearts,
Crooked Eye,
The Doors,
Max Romeo,
Man Parrish,
Swans,
Suicide,
New Order,
Crash Course in Science,
The Pretty Things,
Rufus Thomas,
Gabor Szabo,
Q and Not U,
Gang of Four,
Loose Ends,
Davy DMX,
T.S.O.L.,
Buzzcocks,
Liliput,
The Chocolate Watch Band,
John Coltrane,
Warsaw,
The Gun Club,
Hardrive,
The Five Americans,
Röyhkä ja Rättö ja Lehtisalo,
Super Lover Cee & Casanova Rud,
Bobby Byrd,
Wighnomy Brothers & Robag Wruhme,
Essential Logic,
Camouflage,
Lalo Schifrin,
Tropical Tobacco,
Scientists,
Animal Collective,
Quantec,
ABC,
the Normal,
The American Breed,
Supertramp,
Jimmy McGriff,
Susan Cadogan,
Stiv Bators,
Yellowson, Yellowson, Yellowson, Yellowson.
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.