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 Angola and from Manchester.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1963 to 1978.
I'm losing my edge.
To all the kids in Halifax and Portland.
I'm losing my edge to the art-school Toronto 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 clarinet 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 Bang on a Can All-Stars to the grime kids.
I played it at the Astoria.
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 Association. All the underground hits.
All Unrelated Segments tracks. I heard you have a vinyl of every Al Stewart record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Lebanon Hanover record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lizzy Mercier Descloux,
Orchestral Manoeuvres in the Dark,
Roxy Music,
Pulsallama,
Prince Buster,
EPMD,
FM Einheit,
L. Decosne,
Gary Puckett & The Union Gap,
Morten Harket,
The United States of America,
The Vogues,
The Kinks,
Tres Demented,
Sonny Sharrock,
Trumans Water,
DJ Style,
Hoover,
Bluetip,
Lou Christie,
Lonnie Liston Smith,
Gichy Dan,
Excepter,
The Cowsills,
the Bar-Kays,
Wolf Eyes,
Joey Negro,
H. Thieme,
Andrew Ashong & Theo Parrish,
Flipper,
Sun Ra Arkestra,
Ituana,
Sexual Harrassment,
Jerry Gold Smith,
the Fania All-Stars,
Susan Cadogan,
Thompson Twins,
Skarface,
Kool G Rap & DJ Polo,
Mars,
Yazoo,
Qualms,
K-Klass,
Camron Feat. Memphis Bleek And Beenie Seigel,
Howard Jones,
Bootsy's Rubber Band,
Selector Dub Narcotic,
Barbara Tucker,
Sun Ra,
Fort Wilson Riot,
Blake Baxter,
Lindisfarne,
Dual Sessions,
The Knickerbockers,
Alice Coltrane,
The Move,
Young Marble Giants,
Pharaoh Sanders and the Fire Engines,
Rhythim Is Rhythim,
Radio Birdman,
The Busters,
Kerri Chandler, Kerri Chandler, Kerri Chandler, Kerri Chandler.
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.