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 Sweden and from Madrid.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Columbus and Calgary.
I'm losing my edge to the art-school Madrid 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the mellotron 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 Yellowson to the electroclash kids.
I played it at the Astoria.
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 Brick. All the underground hits.
All Traffic Nightmare tracks. I heard you have a vinyl of every Pussy Galore 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 '70s cut and another box set from the '90s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ash Ra Tempel,
Suicide,
Barbara Tucker,
Bobby Byrd,
Wire,
UT,
Blancmange,
Stockholm Monsters,
The Dead C,
The Mighty Diamonds,
Morten Harket,
The Shadows of Knight,
Masters at Work,
Rekid,
Oppenheimer Analysis,
cv313,
Agent Orange,
Massinfluence,
Second Layer,
Sugar Minott,
The Monks,
Intrusion,
Barrington Levy,
Rhythim Is Rhythim,
Skaos,
Ultravox,
Public Enemy,
Vaughan Mason & Crew,
Guru Guru,
Country Joe & The Fish,
The Peanut Butter Conspiracy,
Jerry Gold Smith,
These Immortal Souls,
Circle Jerks,
The Barracudas,
Boogie Down Productions,
Shoche,
Piero Umiliani,
Roxette,
Ronnie Foster,
The Cowsills,
Mo-Dettes,
Gichy Dan,
Bad Manners,
Bauhaus,
Marmalade,
Quantec,
Model 500,
Gang Gang Dance,
Gary Puckett & The Union Gap,
Half Japanese,
Moby Grape,
10cc,
The Names,
The Divine Comedy,
Los Fastidios,
Kenny Larkin,
David Bowie,
Gerry Rafferty,
Dorothy Ashby,
Cal Tjader,
The Victims, The Victims, The Victims, The Victims.
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.