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 Comoros and from Winnipeg.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Stockholm and Lille.
I'm losing my edge to the art-school Bremen 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 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 Lalann to the dance 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 Lizzy Mercier Descloux. All the underground hits.
All Colin Newman tracks. I heard you have a vinyl of every Nico record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a sitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Black Dice record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Graham Central Station,
Average White Band,
Radiopuhelimet,
Marmalade,
Strawberry Alarm Clock,
The Birthday Party,
Alison Limerick,
Bluetip,
The Moody Blues,
Donny Hathaway,
Simply Red,
The Cure,
ABBA,
The Seeds,
The J.B.'s,
Severed Heads,
Lucky Dragons,
Barclay James Harvest,
A Flock of Seagulls,
Outsiders,
The Mummies,
Minor Threat,
Juan Atkins,
the Normal,
Rhythm & Sound,
Darondo,
Radio Birdman,
The Wake,
Flamin' Groovies,
Popol Vuh,
Laurel Aitken,
A Certain Ratio,
Anthony Braxton,
Spandau Ballet,
Television,
Accadde A,
Barry Ungar,
Stetsasonic,
Junior Murvin,
Procol Harum,
Swans,
48th St. Collective,
The Knickerbockers,
Cluster,
Gabor Szabo,
Public Image Ltd.,
Malaria!,
Ronan,
The Skatalites,
The Smoke,
Sound Behaviour,
Tom Boy,
Kings Of Tomorrow,
Joe Smooth,
The Misunderstood,
Ultimate Spinach,
Cybotron,
Louis and Bebe Barron,
One Last Wish,
Slick Rick,
Sarah Menescal,
The Dead C,
The Mojo Men, The Mojo Men, The Mojo Men, The Mojo Men.
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.