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 Slovakia 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 1969 to 1970.
I'm losing my edge.
To all the kids in Mumbai and Hong Kong.
I'm losing my edge to the art-school Manchester 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 linndrum 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 Lou Christie to the grunge 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 Stockholm Monsters. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every Sandy B record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed & Metallica record.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
Curtis Mayfield,
Chrome,
Adolescents,
D'Angelo,
David McCallum,
Quadrant,
Roxy Music,
The Alarm Clocks,
Wolf Eyes,
The J.B.'s,
The Royal Family And The Poor,
Rekid,
Khruangbin,
Clear Light,
Art Ensemble Of Chicago,
Y Pants,
The Cowsills,
Accadde A,
Kevin Saunderson,
H. Thieme,
The Zeros,
The West Coast Pop Art Experimental Band,
Sun Ra Arkestra,
Derrick Morgan,
Ten City,
Can,
Popol Vuh,
The Grass Roots,
The Mighty Diamonds,
The Birthday Party,
Skarface,
U.S. Maple,
Prince Buster,
La Düsseldorf,
Lungfish,
Big Daddy Kane,
Buzzcocks,
Girls At Our Best!,
Camron Feat. Memphis Bleek And Beenie Seigel,
Interpol,
Junior Murvin,
Tears for Fears,
Kauko Röyhkä ja Narttu,
Swell Maps,
Excepter,
Gastr Del Sol,
Flamin' Groovies,
Juan Atkins,
Boredoms,
Subhumans,
Chris Corsano,
Faraquet,
China Crisis,
Flash Fearless,
The Fuzztones,
Vaughan Mason & Crew,
John Holt, John Holt, John Holt, John Holt.
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.