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 Moldova and from Columbus.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 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 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 Bobby Hutcherson 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 Bauhaus. All the underground hits.
All Tropical Tobacco tracks. I heard you have a vinyl of every John Coltrane record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Saccharine Trust record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siouxsie and the Banshees,
Wasted Youth,
Rapeman,
Sun Ra Arkestra,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Newcleus,
Manfred Mann's Earth Band,
Glambeats Corp.,
Ponytail,
The Count Five,
Kayak,
The Gladiators,
Susan Cadogan,
Bad Manners,
Supertramp,
Heavy D & The Boyz,
Wire,
EPMD,
Blake Baxter,
The West Coast Pop Art Experimental Band,
Anthony Braxton,
Lower 48,
Royal Trux,
Aural Exciters,
June of 44,
Pharoah Sanders,
Black Sheep,
DNA,
Joy Division,
Iggy Pop,
Joe Finger,
Hasil Adkins,
Sex Pistols,
Spandau Ballet,
Erykah Badu,
Lou Reed,
Jimmy McGriff,
Black Moon,
Arcadia,
Zero Boys,
Aaron Thompson,
the Normal,
Kauko Röyhkä ja Narttu,
Tears for Fears,
Fort Wilson Riot,
DeepChord presents Echospace,
Easy Going,
Shoche,
Make Up,
Intrusion,
Leonard Cohen,
Grandmaster Flash and the Furious Five,
Magazine,
Barclay James Harvest,
The Fuzztones,
The Black Dice,
Roy Ayers,
Liliput,
Nas,
Strawberry Alarm Clock,
Scan 7,
Wings, Wings, Wings, Wings.
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.