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 Sweden and from Stockholm.
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 1974.
I'm losing my edge.
To all the kids in Toronto and Mexico City.
I'm losing my edge to the art-school Paris 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 1973 at the first Television practice in a loft in New York.
I was working on the mellotron 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 Wighnomy Brothers & Robag Wruhme to the punk kids.
I played it at the 40 Watt.
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 Average White Band. All the underground hits.
All Eddi Front tracks. I heard you have a vinyl of every Marshall Jefferson record on German import.
I heard that you have a white label of every seminal dance 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 marimba and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor 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?
Gabor Szabo,
A Flock of Seagulls,
Mo-Dettes,
Country Teasers,
Man Eating Sloth,
Wings,
Lou Christie,
Radiohead,
Eyeless In Gaza,
Young Marble Giants,
Roy Ayers Ubiquity,
Scott Walker + Sunn O))),
Brand Nubian,
Andrew Hill,
Ituana,
Dual Sessions,
The Grass Roots,
Wally Richardson,
Bang On A Can,
Make Up,
Andrew Ashong & Theo Parrish,
Selector Dub Narcotic,
The Remains,
Mary Jane Girls,
Quantec,
Howard Jones,
F. McDonald,
Gil Scott Heron,
Angry Samoans,
The Standells,
Faraquet,
Roxette,
Marcia Griffiths,
The Blues Magoos,
One Last Wish,
DNA,
Ralphi Rosario,
Jacques Brel,
Big Daddy Kane,
The Modern Lovers,
Stiv Bators,
Throbbing Gristle,
Robert Hood,
A Certain Ratio,
The Cosmic Jokers,
Yazoo,
Bobby Byrd,
Sandy B,
Bad Manners,
The Zeros,
Boz Scaggs,
Moebius,
Ice-T,
Marine Girls,
Guru Guru,
The Black Dice,
Gian Franco Pienzio,
T. Rex,
Louis and Bebe Barron,
Amon Düül,
It's A Beautiful Day,
Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck.
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.