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 Paraguay and from Lagos.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Woodstock and Bologna.
I'm losing my edge to the art-school Toronto 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the harpsichord 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 Ultra Naté to the crunk kids.
I played it at the Spitz.
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 Todd Rundgren. All the underground hits.
All Crooked Eye tracks. I heard you have a vinyl of every Bill Near record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Excepter record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bronski Beat,
Bauhaus,
FM Einheit,
Pylon,
Sly & The Family Stone,
Black Moon,
Outsiders,
Ash Ra Tempel,
a-ha,
Tommy Roe,
Procol Harum,
Motorama,
The Saints,
The Pretty Things,
Dark Day,
Notorious BIG live in Amsterdam,
Man Parrish,
Deepchord,
Piero Umiliani,
Dennis Brown,
The Beau Brummels,
Andrew Hill,
D'Angelo,
Kerrie Biddell,
The Golliwogs,
London Community Gospel Choir,
Flamin' Groovies,
The Jesus and Mary Chain,
Eve St. Jones,
Eurythmics,
Jimmy McGriff,
Alton Ellis,
Rites of Spring,
Mark Hollis,
The Motions,
Stereo Dub,
Erasure,
Teenage Jesus and the Jerks,
Isaac Hayes,
Alphaville,
Rhythm & Sound,
Scratch Acid,
OOIOO,
Graham Central Station,
The Martian,
The Men They Couldn't Hang,
Gichy Dan,
Gang Green,
Desert Stars,
The Mojo Men,
Subhumans,
Roy Ayers,
Big Daddy Kane,
Orchestral Manoeuvres in the Dark,
Frankie Knuckles,
The Seeds,
Tears for Fears,
Cluster,
The Walker Brothers,
Negative Approach,
In Retrospect,
Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith.
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.