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 Libya and from Bologna.
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 1972.
I'm losing my edge.
To all the kids in Toronto and Cairo.
I'm losing my edge to the art-school Delhi 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the chamberlin 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 Johnny Osbourne to the techno kids.
I played it at the Hacienda.
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 Derrick May. All the underground hits.
All Ultravox tracks. I heard you have a vinyl of every Inner City record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Misunderstood record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Cell,
Scion,
Avey Tare & Kría Brekkan,
Shuggie Otis,
Symarip,
Eric Dolphy,
The Trojans,
Judy Mowatt,
Pantaleimon,
The Barracudas,
Country Teasers,
Hasil Adkins,
Gary Puckett & The Union Gap,
Art Ensemble Of Chicago,
Aural Exciters,
The Dead C,
Groovy Waters,
Robert Wyatt,
Hardrive,
The Smiths,
Barrington Levy,
Bang on a Can All-Stars,
Franke,
Stiv Bators,
Ronnie Foster,
Massinfluence,
Monks,
FM Einheit,
The Doors,
Dorothy Ashby,
Peter and Kerry,
Juan Atkins,
Electric Light Orchestra,
The United States of America,
cv313,
Derrick May,
Archie Shepp,
Silicon Teens,
Bill Near,
Kenny Larkin,
Flash Fearless,
Icehouse,
H. Thieme,
Mars,
Letta Mbulu,
Orchestral Manoeuvres in the Dark,
Quando Quango,
Rhythim Is Rhythim,
Rosa Yemen,
Johnny Clarke,
Crispy Ambulance,
Porter Ricks,
Bad Manners,
In Retrospect,
Neu!,
Camron Feat. Jay Z And Juelz,
Ronan,
Erasure,
Althea and Donna,
DJ Style,
The Monks,
Sugar Minott,
Terry Callier,
Jeff Mills, Jeff Mills, Jeff Mills, Jeff Mills.
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.