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 Tuvalu and from Glasgow.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1977.
I'm losing my edge.
To all the kids in Shanghai and Milan.
I'm losing my edge to the art-school Bologna 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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the harpsichord sounds with much patience.
I was there when Captain Beefheart 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 Neil Young to the jazz kids.
I played it at the Astoria.
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 David Axelrod. All the underground hits.
All Marc Romboy vs. Booka Shade tracks. I heard you have a vinyl of every The Move record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gabor Szabo,
The Cramps,
Bootsy's Rubber Band,
Jawbox,
Monolake,
Sexual Harrassment,
Public Image Ltd.,
Visage,
Television,
the Association,
David Axelrod,
Fela Kuti,
Cameo,
X-101,
Organ,
Lucky Dragons,
It's A Beautiful Day,
The Standells,
Babytalk,
Curtis Mayfield,
Amazonics,
Barclay James Harvest,
Brick,
Stereo Dub,
Rahsaan Roland Kirk,
Gregory Isaacs,
Graham Central Station,
Justin Hinds & The Dominoes,
Moss Icon,
Funkadelic,
Simply Red,
The Smiths,
Anakelly,
Carl Craig,
Notorious BIG live in Amsterdam,
Aswad,
Quadrant,
Public Enemy,
Tom Boy,
Terror Squad Feat. Camron,
The Skatalites,
The Barracudas,
Jeru the Damaja,
D'Angelo,
Eddi Front,
June of 44,
New York Dolls,
Pole,
the Normal,
The Doobie Brothers,
Isaac Hayes,
Cybotron,
The Fortunes,
Prince Buster,
AZ,
Ultimate Spinach,
Bauhaus,
Wire,
Rod Modell,
Desert Stars,
The Sound, The Sound, The Sound, The Sound.
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.