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 Seychelles and from Glasgow.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Portland and Bologna.
I'm losing my edge to the art-school Portland 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the chamberlin 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 Lou Reed & John Cale to the dance kids.
I played it at the Troubador.
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 Bowie. All the underground hits.
All Alison Limerick tracks. I heard you have a vinyl of every The Happenings 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 '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Beau Brummels,
Gil Scott-Heron & Brian Jackson,
Spandau Ballet,
Gerry Rafferty,
Bobby Hutcherson,
Sister Nancy,
The Remains,
Deutsch Amerikanische Freundschaft,
T.S.O.L.,
Fad Gadget,
Lou Christie,
Technova,
The Cosmic Jokers,
Qualms,
The Shadows of Knight,
Masters at Work,
Eurythmics,
The Residents,
Gary Puckett & The Union Gap,
Little Man,
Lucky Dragons,
Max Romeo,
Icehouse,
Dorothy Ashby,
Kool G Rap & DJ Polo,
Au Pairs,
Black Pus,
John Holt,
Sarah Menescal,
Essential Logic,
the Sonics,
Pete Rock & C.L. Smooth,
Pierre Henry,
Kenny Larkin,
Porter Ricks,
Pere Ubu,
This Heat,
Jacob Miller,
Bang On A Can,
Sparks,
Stiv Bators,
Sonny Sharrock,
Super Lover Cee & Casanova Rud,
The American Breed,
Make Up,
Avey Tare,
Q65,
Fifty Foot Hose,
Tears for Fears,
The United States of America,
Al Stewart,
Slave,
Pussy Galore,
Depeche Mode,
Piero Umiliani,
Soul II Soul,
Country Teasers,
Supertramp,
Alison Limerick,
One Last Wish,
L. Decosne,
Jawbox, Jawbox, Jawbox, Jawbox.
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.