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 Azerbaijan and from New York.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Philadelphia and New York.
I'm losing my edge to the art-school Shanghai 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 spring reverb 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 Flamin' Groovies to the techno kids.
I played it at the Spitz.
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 Bobby Hutcherson. All the underground hits.
All Cymande tracks. I heard you have a vinyl of every Masters at Work 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 '50s cut and another box set from the '90s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Deakin record.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sam Rivers,
Ultra Naté,
The Associates,
Accadde A,
Rapeman,
The Seeds,
Lou Reed,
Robert Wyatt,
Radiopuhelimet,
Sun City Girls,
Mr. Review,
Average White Band,
Amon Düül,
Shoche,
JFA,
Jerry Gold Smith,
The Pretty Things,
Warsaw,
New York Dolls,
Alton Ellis,
Peter & Gordon,
Rites of Spring,
Bang On A Can,
Soul Sonic Force,
Crash Course in Science,
The Angels of Light,
Jeff Lynne,
Ken Boothe,
Q65,
Arthur Verocai,
Gil Scott Heron,
The Saints,
Cameo,
Brick,
The Martian,
Teenage Jesus and the Jerks,
Lyres,
Lou Reed & John Cale,
Joyce Sims,
Lungfish,
Pantaleimon,
Sugar Minott,
Clear Light,
Skarface,
The Vogues,
a-ha,
Harmonia,
The Offenders,
The Doobie Brothers,
CMW,
Organ,
Kas Product,
Anthony Braxton,
Pagans,
Siouxsie and the Banshees,
John Foxx,
Roxy Music,
Lebanon Hanover,
The Jesus and Mary Chain,
Newcleus,
Gil Scott-Heron & Brian Jackson,
Ultimate Spinach, Ultimate Spinach, Ultimate Spinach, Ultimate Spinach.
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.