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 Liberia and from Glasgow.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Lagos and New York.
I'm losing my edge to the art-school Toronto 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 Chic practice in a loft in New York.
I was working on the harpsichord sounds with much patience.
I was there when Robert Palmer 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 Ronnie Foster to the disco 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 Oblivians. All the underground hits.
All Dark Day tracks. I heard you have a vinyl of every Thompson Twins record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a güiro and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your 808 and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joy Division,
Japan,
Fort Wilson Riot,
Spandau Ballet,
The Fuzztones,
Swans,
Steve Hackett,
Drexciya,
Gang of Four,
Tropical Tobacco,
Porter Ricks,
Soulsonic Force,
Amon Düül II,
Fear,
Shoche,
Notorious Big And Bone Thugs,
The Black Dice,
Sarah Menescal,
Second Layer,
Unrelated Segments,
Scott Walker + Sunn O))),
The Detroit Cobras,
New York Dolls,
Absolute Body Control,
Crime,
Selector Dub Narcotic,
Graham Central Station,
Jimmy McGriff,
Lalo Schifrin,
H. Thieme,
Donald Byrd,
Deadbeat,
Soft Cell,
Altered Images,
Lucky Dragons,
The Red Krayola,
Bush Tetras,
Inner City,
Piero Umiliani,
The Gap Band,
Crispy Ambulance,
Traffic Nightmare,
Sixth Finger,
Lou Reed & John Cale,
Sugar Minott,
The Selecter,
Man Eating Sloth,
Gil Scott Heron,
Siglo XX,
Lyres,
Bill Near,
The Invisible,
Gil Scott-Heron & Brian Jackson,
Camron Feat. Memphis Bleek And Beenie Seigel,
Suicide,
8 Eyed Spy,
EPMD,
Procol Harum,
The Trojans,
The Electric Prunes, The Electric Prunes, The Electric Prunes, The Electric Prunes.
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.