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 Vietnam and from Tehran.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Halifax and Philadelphia.
I'm losing my edge to the art-school Delhi 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 Lewis practice in a loft in Vancouver.
I was working on the arpeggiator sounds with much patience.
I was there when David Bowie 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 Jacques Brel to the dance 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 Roxette. All the underground hits.
All Barrington Levy tracks. I heard you have a vinyl of every Fort Wilson Riot record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Toasters record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Near,
The Music Machine,
Loose Ends,
Steve Hackett,
Boogie Down Productions,
Basic Channel,
Sandy B,
OOIOO,
Stetsasonic,
The Divine Comedy,
Easy Going,
Robert Wyatt,
The Walker Brothers,
Tropical Tobacco,
The Tremeloes,
Sparks,
The Index,
EPMD,
Das Ding,
The Dave Clark Five,
Graham Central Station,
The Mighty Diamonds,
R.M.O.,
Young Marble Giants,
Symarip,
Michelle Simonal,
Rosa Yemen,
Jeru the Damaja,
Drive Like Jehu,
The Young Rascals,
Slave,
Jandek,
Wally Richardson,
Sunsets and Hearts,
James Chance & The Contortions,
Kenny Larkin,
Ohio Players,
The Selecter,
Throbbing Gristle,
Lou Reed,
DJ Style,
Ten City,
Wire,
Mars,
Fat Boys,
Cabaret Voltaire,
The Monochrome Set,
Ultravox,
Ash Ra Tempel,
Iggy Pop,
FM Einheit,
The Cowsills,
Ken Boothe,
Grey Daturas,
Soulsonic Force,
Letta Mbulu,
Sad Lovers and Giants,
The Fall,
The Human League,
Sight & Sound,
Davy DMX,
Liaisons Dangereuses,
Donald Byrd, Donald Byrd, Donald Byrd, Donald Byrd.
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.