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 Iceland and from Paris.
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 1971.
I'm losing my edge.
To all the kids in Cairo and Stockholm.
I'm losing my edge to the art-school Bologna 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 Feelies practice in a loft in Haledon.
I was working on the mellotron sounds with much patience.
I was there when Michael McDonald 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 Theoretical Girls to the jazz kids.
I played it at the Hacienda.
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 Electric Prunes. All the underground hits.
All Slick Rick tracks. I heard you have a vinyl of every A Certain Ratio record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Blancmange record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Simply Red,
Gregory Isaacs,
John Coltrane,
The Alarm Clocks,
Subhumans,
Newcleus,
Groovy Waters,
China Crisis,
The Dirtbombs,
Grauzone,
Lindisfarne,
The Doors,
Morten Harket,
Marcia Griffiths,
the Fania All-Stars,
the Germs,
Motorama,
The Cosmic Jokers,
The Pretty Things,
Lou Reed & John Cale,
Major Organ And The Adding Machine,
B.T. Express,
Stetsasonic,
Fugazi,
Masters at Work,
Intrusion,
Alice Coltrane,
Swell Maps,
Frankie Knuckles,
Smog,
the Association,
New York Dolls,
Dorothy Ashby,
Surgeon,
John Cale,
Erasure,
Gil Scott-Heron and Jamie xx,
Nils Olav,
Freddie Wadling,
Dave Gahan,
Peter & Gordon,
Marc Romboy vs. Booka Shade,
The Gladiators,
Sarah Menescal,
Electric Light Orchestra,
Sunsets and Hearts,
Ultramagnetic MC's,
It's A Beautiful Day,
Radiohead,
Terrestrial Tones,
David Bowie,
MDC,
Pulsallama,
Jimmy McGriff,
Nico,
Tommy Roe,
Reagan Youth,
Piero Umiliani,
Quando Quango,
Hot Snakes,
Bluetip,
The Doobie Brothers,
Cal Tjader,
Gastr Del Sol, Gastr Del Sol, Gastr Del Sol, Gastr Del Sol.
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.