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 Spain and from Portland.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Seoul and Stockholm.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the harpsichord sounds with much patience.
I was there when David Bowie 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 Fugazi to the dance 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 Sugar Minott. All the underground hits.
All Boz Scaggs tracks. I heard you have a vinyl of every Crime record on German import.
I heard that you have a white label of every seminal crunk 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 an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Jeff Lynne record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glambeats Corp.,
Von Mondo,
MC5,
kango's stein massive,
Technova,
Rod Modell,
Boogie Down Productions,
Bush Tetras,
the Association,
Fela Kuti,
Spandau Ballet,
Anthony Braxton,
Pantaleimon,
Dorothy Ashby,
Aloha Tigers,
Bang on a Can All-Stars,
The Moleskins,
Amon Düül,
Jeff Lynne,
The Count Five,
London Community Gospel Choir,
Kas Product,
Lyres,
Jacob Miller,
The Move,
Morten Harket,
Röyhkä ja Rättö ja Lehtisalo,
Gil Scott-Heron and Jamie xx,
E-Dancer,
Letta Mbulu,
Section 25,
Icehouse,
Country Joe & The Fish,
Little Man,
the Soft Cell,
Tim Buckley,
Black Sheep,
Brass Construction,
Roy Ayers,
Bluetip,
Bang On A Can,
Graham Central Station,
Juan Atkins,
Frankie Knuckles,
Radiopuhelimet,
8 Eyed Spy,
The Cowsills,
Arthur Verocai,
Sarah Menescal,
Steve Hackett,
Gichy Dan,
Prince Buster,
The Toasters,
David Axelrod,
Be Bop Deluxe,
Tom Boy,
The Happenings,
June of 44,
Eyeless In Gaza,
John Coltrane,
The Monks,
The West Coast Pop Art Experimental Band,
Gregory Isaacs,
Slave, Slave, Slave, Slave.
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.