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 Paraguay and from Mexico City.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Portland and Delhi.
I'm losing my edge to the art-school Tehran 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the spring reverb sounds with much patience.
I was there when Holger Czukay 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 Ohio Players to the punk kids.
I played it at the 40 Watt.
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 Q65. All the underground hits.
All Terry Callier tracks. I heard you have a vinyl of every Niagra record on German import.
I heard that you have a white label of every seminal electroclash 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 guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Sly & The Family Stone record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drive Like Jehu,
Neil Young & Crazy Horse,
Porter Ricks,
Ultramagnetic MC's,
Bobby Byrd,
Sparks,
Bobbi Humphrey,
JFA,
The New Christs,
the Bar-Kays,
Eden Ahbez,
Fort Wilson Riot,
The Music Machine,
Ohio Players,
The Residents,
Larry & the Blue Notes,
Suicide,
The Electric Prunes,
Röyhkä ja Rättö ja Lehtisalo,
Stockholm Monsters,
Kool G Rap & DJ Polo,
Bobby Sherman,
Supertramp,
Judy Mowatt,
Pantytec,
Steve Hackett,
Louis and Bebe Barron,
The Walker Brothers,
Tres Demented,
Average White Band,
Scientists,
Pantaleimon,
Pulsallama,
Terrestrial Tones,
Zapp,
Gil Scott Heron,
The Doors,
Janne Schatter,
The Gun Club,
CMW,
Depeche Mode,
Amon Düül,
Curtis Mayfield,
Mission of Burma,
Fifty Foot Hose,
Circle Jerks,
Liliput,
Davy DMX,
Eric B and Rakim,
Nation of Ulysses,
Public Enemy,
Shoche,
Oneida,
Letta Mbulu,
Ken Boothe,
Second Layer,
Roy Ayers Ubiquity,
The Detroit Cobras,
Jeff Mills,
Crime,
Gabor Szabo,
Heaven 17,
Morten Harket, Morten Harket, Morten Harket, Morten Harket.
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.