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 Bolivia and from Stockholm.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Beijing and Mumbai.
I'm losing my edge to the art-school Taipei 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 chamberlin sounds with much patience.
I was there when Holger Czukay 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 Jeru the Damaja to the grunge kids.
I played it at CBGB's.
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 Theoretical Girls. All the underground hits.
All Crime tracks. I heard you have a vinyl of every Avey Tare's Slasher Flicks record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Lower 48 record.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soul II Soul,
Barry Ungar,
Yellowson,
The Fire Engines,
June of 44,
Marvin Gaye,
The Walker Brothers,
Kenny Larkin,
Porter Ricks,
Lee Hazlewood,
Warren Ellis,
Delon & Dalcan,
Aural Exciters,
Andrew Ashong & Theo Parrish,
ABBA,
Spoonie Gee,
World's Most,
Anthony Braxton,
Make Up,
Lou Reed & Metallica,
Lyres,
the Fania All-Stars,
The Royal Family And The Poor,
Fela Kuti,
Connie Case,
Slick Rick,
Louis and Bebe Barron,
Lakeside,
Kerri Chandler,
Flamin' Groovies,
Fifty Foot Hose,
Amon Düül,
Peter Gordon & Love of Life Orchestra,
The Slackers,
The Mojo Men,
Iggy Pop,
James Chance & The Contortions,
Sunsets and Hearts,
Smog,
Minor Threat,
Circle Jerks,
Visage,
The Shadows of Knight,
Aaron Thompson,
Cameo,
Minnie Riperton,
X-101,
Theoretical Girls,
Alphaville,
Slave,
The Dead C,
Hot Snakes,
Sam Rivers,
Lonnie Liston Smith,
Bobby Byrd,
Surgeon,
Spandau Ballet,
Country Joe & The Fish,
Avey Tare's Slasher Flicks,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.