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 Djibouti and from New York.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1967 to 1977.
I'm losing my edge.
To all the kids in Columbus and Tokyo.
I'm losing my edge to the art-school Edmonton 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 arpeggiator 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 Rod Modell to the dance kids.
I played it at the Troubador.
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 Yazoo. All the underground hits.
All Aswad tracks. I heard you have a vinyl of every X-101 record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Smog record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wolf Eyes,
X-102,
F. McDonald,
Jerry's Kids,
U.S. Maple,
Supertramp,
Darondo,
Big Daddy Kane,
Pagans,
Grey Daturas,
Danielle Patucci,
The Motions,
The Fall,
Cameo,
Oblivians,
Be Bop Deluxe,
Mo-Dettes,
Rowland S Howard / Lydia Lunch,
Mission of Burma,
Marcia Griffiths,
OOIOO,
MDC,
Public Image Ltd.,
Joy Division,
Organ,
China Crisis,
Lou Reed & John Cale,
Lalo Schifrin,
Country Joe & The Fish,
The Pretty Things,
Second Layer,
The Shadows of Knight,
Bob Dylan,
Susan Cadogan,
Soft Machine,
Bootsy Collins,
The Young Rascals,
Ajijia Myrayebe,
Fifty Foot Hose,
The Jesus and Mary Chain,
Pylon,
ABC,
Gerry Rafferty,
Strawberry Alarm Clock,
Jeff Mills,
H. Thieme,
Negative Approach,
The Skatalites,
The United States of America,
Fort Wilson Riot,
Alphaville,
the Germs,
Zero Boys,
The Fuzztones,
Pierre Henry,
David McCallum,
Bad Manners,
The Fire Engines,
Minnie Riperton,
Deakin, Deakin, Deakin, Deakin.
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.