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 Sweden and from Copenhagen.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Madrid and Philadelphia.
I'm losing my edge to the art-school Mumbai 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the linndrum 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 Sandy B to the jazz kids.
I played it at the Roxy.
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 Heavy D & The Boyz. All the underground hits.
All The Shadows of Knight tracks. I heard you have a vinyl of every The Monochrome Set record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Star Department record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Flock of Seagulls,
Nico,
Mo-Dettes,
Boogie Down Productions,
Slick Rick,
Albert Ayler,
Clear Light,
Saccharine Trust,
Amon Düül II,
Röyhkä ja Rättö ja Lehtisalo,
Supertramp,
Hot Snakes,
The Chocolate Watch Band,
Eddi Front,
Todd Terry,
Niagra,
Rites of Spring,
Eurythmics,
Theoretical Girls,
Minutemen,
Anakelly,
The Shadows of Knight,
Dr. Dre and Snoop Doggy Dog,
48th St. Collective,
The Mighty Diamonds,
Sällskapet,
Siglo XX,
The American Breed,
Peter Gordon & Love of Life Orchestra,
Aural Exciters,
Cal Tjader,
Sonic Youth,
Man Parrish,
Moss Icon,
Stiv Bators,
MC5,
Scratch Acid,
Todd Rundgren,
Chris & Cosey,
Moby Grape,
The Mummies,
Derrick May,
The Names,
Massinfluence,
Rakim,
Radiopuhelimet,
Jeff Mills,
Public Enemy,
Gang of Four,
The Five Americans,
Lizzy Mercier Descloux,
Bootsy's Rubber Band,
Joe Smooth,
Wings,
Circle Jerks,
Absolute Body Control,
Electric Light Orchestra,
Yellowson, Yellowson, Yellowson, Yellowson.
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.