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 Dominican Republic and from Lagos.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1971.
I'm losing my edge.
To all the kids in Paris and Manila.
I'm losing my edge to the art-school Lyon 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 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 Pylon to the grime 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 Ossler. All the underground hits.
All Roy Ayers tracks. I heard you have a vinyl of every Shoche record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arab on Radar,
Quadrant,
Kayak,
Suburban Knight,
De La Soul & Jungle Brothers,
Interpol,
Spoonie Gee,
Max Romeo,
Rufus Thomas,
Alison Limerick,
Masters at Work,
Metal Thangz,
Patti Smith,
Joey Negro,
Urselle,
Fad Gadget,
Grauzone,
It's A Beautiful Day,
Cabaret Voltaire,
Röyhkä ja Rättö ja Lehtisalo,
Traffic Nightmare,
Sight & Sound,
Minor Threat,
Public Image Ltd.,
Agitation Free,
Chris Corsano,
Carl Craig,
Morten Harket,
Monolake,
Duran Duran,
Loose Ends,
Kerri Chandler,
Tres Demented,
Wire,
The Mummies,
Lungfish,
The Associates,
Subhumans,
Joy Division,
Skaos,
Unwound,
Lou Christie,
David Bowie,
Sandy B,
Pylon,
Scratch Acid,
Moebius,
Gong,
Lalo Schifrin,
E-Dancer,
Lee Hazlewood,
Spandau Ballet,
Gang of Four,
The Angels of Light,
Letta Mbulu,
Pharoah Sanders,
L. Decosne,
The Music Machine,
The Neon Judgement,
Lonnie Liston Smith,
Cameo,
Lou Reed & Metallica, Lou Reed & Metallica, Lou Reed & Metallica, Lou Reed & Metallica.
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.