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 Mali and from Copenhagen.
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 1973.
I'm losing my edge.
To all the kids in New York and Woodstock.
I'm losing my edge to the art-school Copenhagen 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the clarinet sounds with much patience.
I was there when Nile Rodgers 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 Lungfish to the jazz kids.
I played it at the Hacienda.
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 The Mummies. All the underground hits.
All Mary Jane Girls tracks. I heard you have a vinyl of every Ronnie Foster record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Five Americans,
The Mojo Men,
Buzzcocks,
Bad Manners,
Masters at Work,
Roxy Music,
Parry Music,
Spoonie Gee,
8 Eyed Spy,
Clear Light,
Accadde A,
Funkadelic,
Lightning Bolt,
Reuben Wilson,
Average White Band,
The Music Machine,
Marc Almond,
Moebius,
Franke,
Ronnie Foster,
Steve Hackett,
Gabor Szabo,
Tomorrow,
Donny Hathaway,
Glambeats Corp.,
The Move,
Roy Ayers,
Morten Harket,
Sandy B,
Pete Rock & C.L. Smooth,
The Doobie Brothers,
Lonnie Liston Smith,
Cal Tjader,
Faraquet,
The Dirtbombs,
Arcadia,
Agent Orange,
John Foxx,
The Saints,
Amon Düül,
Deutsch Amerikanische Freundschaft,
Fluxion,
Bang on a Can All-Stars,
Ponytail,
Minor Threat,
F. McDonald,
Swans,
The Pop Group,
Con Funk Shun,
Gil Scott Heron,
In Retrospect,
Siouxsie and the Banshees,
Gang Green,
The United States of America,
Kool Moe Dee,
New Age Steppers,
Crispy Ambulance,
Erykah Badu,
Robert Görl,
X-Ray Spex,
Graham Central Station,
Pulsallama,
Idris Muhammad, Idris Muhammad, Idris Muhammad, Idris Muhammad.
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.