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 Venezuela and from Beijing.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Salvador and Cairo.
I'm losing my edge to the art-school London 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the guitar 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 Ken Boothe to the grunge 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 Robert Wyatt. All the underground hits.
All June Days tracks. I heard you have a vinyl of every Flipper record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Lou Christie 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?
Orchestral Manoeuvres in the Dark,
Fad Gadget,
Bizarre Inc.,
The Dirtbombs,
The Star Department,
Electric Light Orchestra,
Eve St. Jones,
Grandmaster Flash,
Ronan,
F. McDonald,
Man Parrish,
Kevin Saunderson,
Trumans Water,
The Doobie Brothers,
Parry Music,
Girls At Our Best!,
Sun Ra Arkestra,
Deadbeat,
Radio Birdman,
Motorama,
Piero Umiliani,
Pole,
Unrelated Segments,
Anthony Braxton,
Rosa Yemen,
Subhumans,
The Raincoats,
Joe Finger,
Qualms,
Colin Newman,
Kool G Rap & DJ Polo,
Q65,
Popol Vuh,
Crime,
Pete Rock & C.L. Smooth,
The Remains,
The Martian,
The Litter,
Letta Mbulu,
Moby Grape,
Bobby Sherman,
Dead Boys,
Barry Ungar,
Aaron Thompson,
The Cosmic Jokers,
Crispy Ambulance,
Siglo XX,
Albert Ayler,
Lonnie Liston Smith,
Kas Product,
David McCallum,
Essential Logic,
Sticky Fingaz feat. Raekwon,
Pagans,
The Durutti Column,
Bill Near,
Dorothy Ashby,
The Standells,
Ronnie Foster,
Strawberry Alarm Clock,
Sun City Girls, Sun City Girls, Sun City Girls, Sun City Girls.
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.