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 Lebanon and from Cairo.
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 1971.
I'm losing my edge.
To all the kids in Taipei and Paris.
I'm losing my edge to the art-school Winnipeg 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the chamberlin 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 E-Dancer to the electroclash kids.
I played it at CBGB's.
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 Rhythm & Sound. All the underground hits.
All Marcia Griffiths tracks. I heard you have a vinyl of every Arthur Verocai 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 '70s cut and another box set from the '80s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Moebius record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T.S.O.L.,
Sparks,
Nik Kershaw,
Subhumans,
Pagans,
Mary Jane Girls,
Grauzone,
Radio Birdman,
Deepchord,
The Human League,
Bizarre Inc.,
The Barracudas,
The Grass Roots,
Pantytec,
Slick Rick,
the Bar-Kays,
a-ha,
Agent Orange,
Neu!,
The Cramps,
Quadrant,
Peter Gordon & Love of Life Orchestra,
Barrington Levy,
Public Image Ltd.,
The Invisible,
Section 25,
Little Man,
Gil Scott-Heron & Brian Jackson,
Jawbox,
Pole,
Big Daddy Kane,
The Dirtbombs,
Goldenarms,
The Evens,
Morten Harket,
Anthony Braxton,
The Cosmic Jokers,
Oneida,
Franke,
Skaos,
Harry Pussy,
Animal Collective,
The Men They Couldn't Hang,
Tom Boy,
Joy Division,
Dual Sessions,
Fad Gadget,
Khruangbin,
Don Cherry,
Con Funk Shun,
Alton Ellis,
Erasure,
The Blues Magoos,
Skriet,
Nirvana,
The Alarm Clocks,
JFA,
Angry Samoans,
ABC,
Larry & the Blue Notes,
The Fire Engines,
The Seeds,
Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow.
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.