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 Kenya and from Lyon.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Lille and Cairo.
I'm losing my edge to the art-school Johannesburg 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the organ sounds with much patience.
I was there when Robert Palmer 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 Faraquet to the techno 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 Q and Not U. All the underground hits.
All Bobby Womack tracks. I heard you have a vinyl of every Monolake 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 '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skriet,
Barrington Levy,
Khruangbin,
The Buckinghams,
The Royal Family And The Poor,
David McCallum,
Schoolly D,
Drive Like Jehu,
Avey Tare & Kría Brekkan,
Goldenarms,
Porter Ricks,
Ohio Players,
Sound Behaviour,
Vaughan Mason & Crew,
Dawn Penn,
The Fire Engines,
A Certain Ratio,
Magma,
Urselle,
Lou Reed & Metallica,
The Searchers,
Mark Hollis,
Rhythim Is Rhythim,
Ornette Coleman,
Country Teasers,
Q and Not U,
Scan 7,
Marcia Griffiths,
Royal Trux,
Mr. Review,
The Alarm Clocks,
Lou Reed & John Cale,
48th St. Collective,
The Motions,
Skaos,
La Düsseldorf,
Mars,
The Wake,
Chrome,
Lyres,
Kings Of Tomorrow,
The Human League,
Notorious Big And Bone Thugs,
Godley & Creme,
Massinfluence,
The Litter,
Magazine,
U.S. Maple,
The Dirtbombs,
Talk Talk,
Arthur Verocai,
Minutemen,
Prince Buster,
Tommy Roe,
Groovy Waters,
Joe Smooth,
Smog,
Glambeats Corp.,
Sun Ra Arkestra,
Terrestrial Tones,
The Sonics,
R.M.O., R.M.O., R.M.O., R.M.O..
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.