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 Oman and from Philadelphia.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1976.
I'm losing my edge.
To all the kids in Lagos and Johannesburg.
I'm losing my edge to the art-school Glasgow 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 sitar 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 The Seeds to the electroclash 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 The Alarm Clocks. All the underground hits.
All Gang Starr tracks. I heard you have a vinyl of every Camouflage record on German import.
I heard that you have a white label of every seminal dance 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 synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Orchestral Manoeuvres in the Dark record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aswad,
Byron Stingily,
Bluetip,
Hot Snakes,
Clear Light,
Brass Construction,
Joe Smooth,
A Flock of Seagulls,
Terry Callier,
R.M.O.,
The Pretty Things,
The Kinks,
48th St. Collective,
Little Man,
The Zeros,
Pantytec,
Cal Tjader,
Sällskapet,
Shoche,
Section 25,
The Victims,
Lou Reed & John Cale,
Jacques Brel,
MDC,
Faust,
Strawberry Alarm Clock,
Skarface,
The Five Americans,
Marshall Jefferson,
Pet Shop Boys,
Lalo Schifrin,
The Black Dice,
Nick Cave & The Bad Seeds,
Underground Resistance,
JFA,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Glambeats Corp.,
Gong,
the Soft Cell,
Roy Ayers,
Soul Sonic Force,
Procol Harum,
Eyeless In Gaza,
Stereo Dub,
Electric Prunes,
The Motions,
David Axelrod,
Juan Atkins,
Lee Hazlewood,
Amon Düül,
H. Thieme,
Basic Channel,
The Remains,
Pagans,
DJ Style,
Duran Duran,
Pharoah Sanders,
Sticky Fingaz feat. Raekwon,
Tomorrow,
Beasts of Bourbon,
Kayak,
Half Japanese,
The Detroit Cobras,
Scrapy,
Yaz, Yaz, Yaz, Yaz.
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.