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 Mongolia and from Houston.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Jakarta and Taipei.
I'm losing my edge to the art-school Calgary 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 1976 at the first Chic practice in a loft in New York.
I was working on the theremin 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 Pulsallama 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 Ash Ra Tempel. All the underground hits.
All Gastr Del Sol tracks. I heard you have a vinyl of every Pylon record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pylon,
Kango’s Stein Massive,
It's A Beautiful Day,
Main Source,
Make Up,
Deakin,
Godley & Creme,
Bobby Womack,
The Modern Lovers,
Cheater Slicks,
Justin Hinds & The Dominoes,
cv313,
The Martian,
London Community Gospel Choir,
Skriet,
Thee Headcoats,
Wally Richardson,
Chris Corsano,
Sight & Sound,
Surgeon,
David McCallum,
Kurtis Blow,
Fat Boys,
Japan,
Drexciya,
The Techniques,
Wighnomy Brothers & Robag Wruhme,
Neu!,
The Standells,
Porter Ricks,
Lizzy Mercier Descloux,
Clear Light,
John Holt,
The Stooges,
Terry Callier,
Scott Walker,
Andrew Hill,
Yellowson,
OOIOO,
Tres Demented,
Alton Ellis,
The Grass Roots,
Das Ding,
Alison Limerick,
Liliput,
The Move,
Lonnie Liston Smith,
The Monochrome Set,
F. McDonald,
Funkadelic,
Janne Schatter,
Ronan,
Tim Buckley,
Glambeats Corp.,
David Bowie,
Swell Maps,
In Retrospect,
Boogie Down Productions,
Thompson Twins,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.