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 Israel and from Madrid.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Cairo and Woodstock.
I'm losing my edge to the art-school Hong Kong 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Don Cherry to the disco 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 Severed Heads. All the underground hits.
All Sexual Harrassment tracks. I heard you have a vinyl of every Marmalade 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 '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Roxy Music record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
Camron Feat. Jay Z And Juelz,
Al Stewart,
Symarip,
Boredoms,
Sarah Menescal,
Kerri Chandler,
Ultra Naté,
Big Daddy Kane,
Larry & the Blue Notes,
Jerry's Kids,
Wings,
Quadrant,
Unrelated Segments,
Motorama,
Joe Finger,
Cabaret Voltaire,
Gary Puckett & The Union Gap,
Pierre Henry,
Gichy Dan,
Ossler,
Wolf Eyes,
The Flesh Eaters,
Jeff Lynne,
Eve St. Jones,
Bobby Womack,
Black Flag,
Ronnie Foster,
Bauhaus,
Sister Nancy,
The Golliwogs,
D'Angelo,
Sly & The Family Stone,
Wasted Youth,
Spandau Ballet,
Deepchord,
Sam Rivers,
The Trojans,
the Slits,
Funky Four + One,
Little Man,
The Residents,
Roxy Music,
Main Source,
Terry Callier,
Porter Ricks,
James Chance & The Contortions,
Duran Duran,
Lyres,
Althea and Donna,
Robert Hood,
Eurythmics,
JFA,
Major Organ And The Adding Machine,
Dual Sessions,
The Gladiators,
Lungfish,
The Royal Family And The Poor,
The Monks,
Juan Atkins,
Popol Vuh, Popol Vuh, Popol Vuh, Popol Vuh.
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.