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 Cambodia and from Tehran.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Madrid and Lyon.
I'm losing my edge to the art-school Houston 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 1976 at the first Chic practice in a loft in New York.
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 Strawberry Alarm Clock to the dance kids.
I played it at Cafe Wha.
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 Supertramp. All the underground hits.
All The Skatalites tracks. I heard you have a vinyl of every Glenn Branca 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 '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kings Of Tomorrow,
Neil Young,
Accadde A,
Inner City,
Carl Craig,
Fort Wilson Riot,
Chrome,
Mark Hollis,
Rapeman,
The Smiths,
Amazonics,
The Monks,
Interpol,
Erykah Badu,
Boogie Down Productions,
Lee Hazlewood,
Negative Approach,
Letta Mbulu,
Television Personalities,
Mandrill,
Marc Almond,
Public Image Ltd.,
FM Einheit,
La Düsseldorf,
Althea and Donna,
Barrington Levy,
Little Man,
Blancmange,
Hoover,
Heaven 17,
Reagan Youth,
Manfred Mann's Earth Band,
The Young Rascals,
AZ,
Pierre Henry,
Bauhaus,
Jesper Dahlback,
Howard Jones,
Ice-T,
Dawn Penn,
Groovy Waters,
Barbara Tucker,
Lafayette Afro Rock Band,
Silicon Teens,
Roy Ayers Ubiquity,
The Electric Prunes,
James White and The Blacks,
a-ha,
ABC,
Vladislav Delay,
Severed Heads,
Fad Gadget,
Fat Boys,
Nation of Ulysses,
Ituana,
Grey Daturas,
Avey Tare,
Sarah Menescal,
Sister Nancy,
KRS-One,
Rhythm & Sound,
The Blackbyrds,
Second Layer, Second Layer, Second Layer, Second Layer.
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.