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 Slovakia and from Edmonton.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Shanghai and Bremen.
I'm losing my edge to the art-school Portland 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 snare sounds with much patience.
I was there when Donald Fagen 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 Crispian St. Peters to the jazz 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 Country Teasers. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every Tres Demented record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Blues Magoos record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yusef Lateef,
Rapeman,
Dead Boys,
Ronnie Foster,
Pharoah Sanders,
E-Dancer,
Gang Green,
Alison Limerick,
Cal Tjader,
Bang on a Can All-Stars,
The Move,
June of 44,
Sam Rivers,
Steve Hackett,
Oppenheimer Analysis,
Guru Guru,
Matthew Bourne,
The Buckinghams,
Justin Hinds & The Dominoes,
Nils Olav,
Jimmy McGriff,
Urselle,
The Vogues,
Model 500,
Danielle Patucci,
Pantaleimon,
The Shadows of Knight,
The Pretty Things,
Crash Course in Science,
Man Eating Sloth,
X-101,
Richard Hell and the Voidoids,
Peter & Gordon,
Delon & Dalcan,
Eve St. Jones,
Black Bananas,
John Cale,
Moss Icon,
Soul Sonic Force,
Judy Mowatt,
Scott Walker + Sunn O))),
Jeff Mills,
Main Source,
Panda Bear,
Thee Headcoats,
These Immortal Souls,
Lebanon Hanover,
Sugar Minott,
Lakeside,
Lyres,
Dark Day,
Swans,
the Slits,
Barrington Levy,
Duran Duran,
The Dave Clark Five,
Marcia Griffiths,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.