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 Nigeria and from Jakarta.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Tokyo and Columbus.
I'm losing my edge to the art-school London 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 chamberlin 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 E-Dancer to the grunge kids.
I played it at the Troubador.
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 Can. All the underground hits.
All the Human League tracks. I heard you have a vinyl of every The Cowsills record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Lucky Dragons record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rites of Spring,
Morten Harket,
Gastr Del Sol,
James White and The Blacks,
Agent Orange,
Patti Smith,
Grandmaster Flash and the Furious Five,
Aural Exciters,
Sällskapet,
Quantec,
Y Pants,
Soft Machine,
Sun Ra,
Scott Walker + Sunn O))),
Unrelated Segments,
Howard Jones,
Animal Collective,
Donny Hathaway,
Wolf Eyes,
Yazoo,
This Heat,
Organ,
The Black Dice,
Warsaw,
Saccharine Trust,
Sticky Fingaz feat. Raekwon,
Byron Stingily,
Pantytec,
Q65,
Tubeway Army,
Subhumans,
the Slits,
Kas Product,
Camron Feat. Memphis Bleek And Beenie Seigel,
Davy DMX,
Johnny Clarke,
Radio Birdman,
Laurel Aitken,
Bobby Sherman,
Marc Romboy vs. Booka Shade,
Fort Wilson Riot,
Joe Finger,
Kerrie Biddell,
Johnny Osbourne,
Erasure,
Sun Ra Arkestra,
LL Cool J,
The Music Machine,
Pharaoh Sanders and the Fire Engines,
The Standells,
Orchestral Manoeuvres in the Dark,
Spandau Ballet,
Simply Red,
The Real Kids,
Traffic Nightmare,
Newcleus,
Lucky Dragons,
Avey Tare,
Monks,
Pharoah Sanders,
T.S.O.L.,
Jacques Brel,
Harmonia, Harmonia, Harmonia, Harmonia.
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.