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 Panama 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 1965 to 1976.
I'm losing my edge.
To all the kids in Copenhagen and Columbus.
I'm losing my edge to the art-school Taipei 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 Feelies practice in a loft in Haledon.
I was working on the synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Oneida to the techno kids.
I played it at Cafe Wha.
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 Eurythmics. All the underground hits.
All Slick Rick tracks. I heard you have a vinyl of every Kings Of Tomorrow record on German import.
I heard that you have a white label of every seminal funk 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 clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The West Coast Pop Art Experimental Band,
The Monks,
Gang Green,
Ken Boothe,
Minor Threat,
Carl Craig,
Patti Smith,
Colin Newman,
Liaisons Dangereuses,
The Vogues,
Wolf Eyes,
Audionom,
Althea and Donna,
Deadbeat,
DJ Style,
Soul II Soul,
The Walker Brothers,
Blossom Toes,
The Beau Brummels,
Angels of Light & Akron/Family,
Joe Smooth,
KRS-One,
John Lydon,
Rod Modell,
Tom Boy,
The Buckinghams,
Rites of Spring,
The Fire Engines,
Barrington Levy,
Massinfluence,
MDC,
Alice Coltrane,
the Sonics,
Anakelly,
Swans,
Japan,
Leonard Cohen,
Glenn Branca,
Pulsallama,
Warren Ellis,
John Foxx,
Ten City,
These Immortal Souls,
Lakeside,
Pierre Henry,
Orchestral Manoeuvres in the Dark,
Terrestrial Tones,
Jeru the Damaja,
The Leaves,
The Skatalites,
The Blackbyrds,
Fifty Foot Hose,
The Barracudas,
Radiopuhelimet,
The Slits,
Shuggie Otis,
Aloha Tigers,
Flamin' Groovies,
Rosa Yemen,
Rhythim Is Rhythim,
The Moody Blues,
Gil Scott-Heron & Brian Jackson,
Dr. Dre and Snoop Doggy Dog, Dr. Dre and Snoop Doggy Dog, Dr. Dre and Snoop Doggy Dog, Dr. Dre and Snoop Doggy Dog.
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.