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 Nicaragua and from Shanghai.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Calgary and Toronto.
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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Sparks to the techno 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 Tomorrow. All the underground hits.
All Das Ding tracks. I heard you have a vinyl of every Crash Course in Science 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 '80s cut and another box set from the '70s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Intrusion record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soul Sonic Force,
Blancmange,
The Gories,
Babytalk,
Fad Gadget,
The Birthday Party,
Underground Resistance,
Jeru the Damaja,
Das Ding,
Chrome,
Idris Muhammad,
The Real Kids,
Lonnie Liston Smith,
Malaria!,
Joyce Sims,
Drexciya,
Desert Stars,
Toni Rubio,
Robert Görl,
Hashim,
Radiopuhelimet,
Kenny Larkin,
The Sonics,
This Heat,
The Mojo Men,
The Raincoats,
James White and The Blacks,
Cabaret Voltaire,
Bobby Womack,
Traffic Nightmare,
A Certain Ratio,
Boogie Down Productions,
The Victims,
The Toasters,
Terrestrial Tones,
Alice Coltrane,
The Golliwogs,
Dorothy Ashby,
Los Fastidios,
The Standells,
Andrew Hill,
FM Einheit,
Glambeats Corp.,
Darondo,
Judy Mowatt,
Marshall Jefferson,
Steve Hackett,
Barrington Levy,
The Cure,
Public Image Ltd.,
The Star Department,
Magma,
Harpers Bizarre,
Essential Logic,
The Searchers,
Deutsch Amerikanische Freundschaft,
The Fall,
Gichy Dan,
The Skatalites,
The Doors,
the Association,
Roy Ayers Ubiquity,
The Stooges, The Stooges, The Stooges, The Stooges.
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.