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 Hungary and from Tokyo.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Winnipeg and Tokyo.
I'm losing my edge to the art-school Manchester 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 Zapp practice in a loft in Hamilton.
I was working on the mellotron 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 Pulsallama to the jazz kids.
I played it at Cafe Wha.
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 Camberwell Now. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every Ohio Players record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a This Heat record.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare's Slasher Flicks,
Louis and Bebe Barron,
Leonard Cohen,
Soft Machine,
Fluxion,
Jeru the Damaja,
Strawberry Alarm Clock,
Davy DMX,
Wire,
Hasil Adkins,
Marshall Jefferson,
David Axelrod,
Crime,
Fela Kuti,
Lou Reed,
Camberwell Now,
Icehouse,
Absolute Body Control,
Dual Sessions,
The Raincoats,
John Coltrane,
Stereo Dub,
Sly & The Family Stone,
The Cramps,
Chrome,
The Sound,
James White and The Blacks,
the Bar-Kays,
Wings,
Kool Moe Dee,
Ice-T,
Art Ensemble Of Chicago,
Bobby Hutcherson,
The Offenders,
Drive Like Jehu,
Roy Ayers,
Fat Boys,
Man Eating Sloth,
Das Ding,
Kurtis Blow,
Jesper Dahlback,
Gil Scott Heron,
Avey Tare,
The Mighty Diamonds,
Oblivians,
Michelle Simonal,
Roy Ayers Ubiquity,
Dorothy Ashby,
The Gap Band,
The Alarm Clocks,
Teenage Jesus and the Jerks,
Gabor Szabo,
The Busters,
Susan Cadogan,
Larry & the Blue Notes,
The Selecter,
Barrington Levy,
Delta 5,
Donald Byrd,
Bluetip,
La Düsseldorf,
Nico, Nico, Nico, Nico.
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.