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 Malawi and from Accra.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1968 to 1978.
I'm losing my edge.
To all the kids in Tehran and Sao Paulo.
I'm losing my edge to the art-school Paris 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 oboe sounds with much patience.
I was there when Donald Fagen 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 Slave to the punk kids.
I played it at the Troubador.
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 10cc. All the underground hits.
All Wire tracks. I heard you have a vinyl of every CMW record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a guitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Ohio Players record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pussy Galore,
Louis and Bebe Barron,
Desert Stars,
Peter & Gordon,
The New Christs,
The Electric Prunes,
ABC,
Con Funk Shun,
Ohio Players,
The Music Machine,
Brothers Johnson,
Little Man,
U.S. Maple,
Art Ensemble Of Chicago,
Theoretical Girls,
Byron Stingily,
Drexciya,
Rakim,
Marc Almond,
Nils Olav,
Curtis Mayfield,
Sticky Fingaz feat. Raekwon,
Joy Division,
Motorama,
Todd Terry,
Archie Shepp,
Fear,
L. Decosne,
Lou Reed,
The Names,
Altered Images,
Be Bop Deluxe,
The Tremeloes,
Gang Gang Dance,
Tropical Tobacco,
Main Source,
Guru Guru,
Jandek,
UT,
Ajijia Myrayebe,
Sound Behaviour,
Moss Icon,
Grandmaster Flash,
Tomorrow,
Traffic Nightmare,
Groovy Waters,
Tom Boy,
Beasts of Bourbon,
The J.B.'s,
The Durutti Column,
Porter Ricks,
Barbara Tucker,
The Toasters,
Faust,
The Leaves,
Hashim,
The Move,
Panda Bear,
David McCallum,
Minny Pops,
Thinking Fellers Union Local 282,
Monolake,
Crispy Ambulance, Crispy Ambulance, Crispy Ambulance, Crispy Ambulance.
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.