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 Slovenia and from Mumbai.
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 1964 to 1979.
I'm losing my edge.
To all the kids in New York and Taipei.
I'm losing my edge to the art-school Cairo 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 chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Judy Mowatt to the techno 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 Gil Scott-Heron & Brian Jackson. All the underground hits.
All Zapp tracks. I heard you have a vinyl of every Quantec record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Eurythmics record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roxette,
Selector Dub Narcotic,
The Grass Roots,
Kango’s Stein Massive,
Rakim,
Public Enemy,
Spandau Ballet,
Deakin,
Davy DMX,
Isaac Hayes,
The Fortunes,
The Divine Comedy,
Lizzy Mercier Descloux,
Tubeway Army,
David Axelrod,
Urselle,
Erasure,
Loose Ends,
Au Pairs,
Public Image Ltd.,
the Association,
The Toasters,
Oblivians,
Hoover,
James Chance & The Contortions,
the Fania All-Stars,
Spoonie Gee,
Lonnie Liston Smith,
Notorious BIG live in Amsterdam,
La Düsseldorf,
Nick Fraelich,
Main Source,
Eric Copeland,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Dave Clark Five,
Maleditus Sound,
The Neon Judgement,
The Sound,
Cymande,
F. McDonald,
Japan,
Barrington Levy,
Youth Brigade,
Moebius,
Aaron Thompson,
Hardrive,
Eric Dolphy,
Andrew Hill,
Zero Boys,
Camouflage,
Q and Not U,
Schoolly D,
Nirvana,
Ronan,
Kenny Larkin,
Theoretical Girls,
Lafayette Afro Rock Band,
Robert Görl,
Scott Walker,
Rosa Yemen,
Colin Newman, Colin Newman, Colin Newman, Colin Newman.
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.