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 Jordan and from Bremen.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1974.
I'm losing my edge.
To all the kids in Mexico City and Sao Paulo.
I'm losing my edge to the art-school Mexico City 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 güiro 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 Nils Olav to the disco kids.
I played it at Cafe Wha.
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 Tom Boy. All the underground hits.
All Gang Green tracks. I heard you have a vinyl of every Lee Hazlewood record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an oboe and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Fatback Band record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radiopuhelimet,
Supertramp,
Dead Boys,
Kaleidoscope,
Bauhaus,
Talk Talk,
Y Pants,
June of 44,
The Mighty Diamonds,
X-101,
Au Pairs,
Scan 7,
Lyres,
David Axelrod,
John Holt,
The Leaves,
Eden Ahbez,
B.T. Express,
Mandrill,
Byron Stingily,
Barry Ungar,
Niagra,
The Sonics,
The Mummies,
Wally Richardson,
Kas Product,
Peter & Gordon,
Smog,
Girls At Our Best!,
Absolute Body Control,
The Music Machine,
Flipper,
Faraquet,
Mars,
Fluxion,
Gian Franco Pienzio,
The Gap Band,
Hardrive,
Dark Day,
Public Image Ltd.,
New Order,
Soulsonic Force,
Amazonics,
Ajijia Myrayebe,
Ossler,
The Offenders,
Saccharine Trust,
Little Man,
The Beau Brummels,
Johnny Osbourne,
Parry Music,
Soul II Soul,
The Residents,
Nas,
Ornette Coleman,
Mission of Burma,
Sex Pistols,
Pete Rock & C.L. Smooth,
Dual Sessions,
Patti Smith,
Brand Nubian, Brand Nubian, Brand Nubian, Brand Nubian.
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.