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 Singapore and from Mexico City.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Lille and Columbus.
I'm losing my edge to the art-school Bologna 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the snare sounds with much patience.
I was there when Robert Palmer 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 T.S.O.L. 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 Ajijia Myrayebe. All the underground hits.
All L. Decosne tracks. I heard you have a vinyl of every Scott Walker + Sunn O))) record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quantec,
Shuggie Otis,
Guru Guru,
Skriet,
Graham Central Station,
Bobby Sherman,
Ajijia Myrayebe,
The Doors,
F. McDonald,
T. Rex,
Aloha Tigers,
Steve Hackett,
New York Dolls,
Kenny Larkin,
Dual Sessions,
Gil Scott-Heron and Jamie xx,
Morten Harket,
U.S. Maple,
R.M.O.,
The Barracudas,
Japan,
Dorothy Ashby,
Grandmaster Flash,
Severed Heads,
Warsaw,
Basic Channel,
Lou Reed,
Juan Atkins,
Rosa Yemen,
Excepter,
T.S.O.L.,
Television,
DeepChord presents Echospace,
The Divine Comedy,
cv313,
Dark Day,
Groovy Waters,
Yellowson,
Joe Finger,
Magazine,
H. Thieme,
Johnny Osbourne,
The Pretty Things,
Index,
Pere Ubu,
Glambeats Corp.,
The Sound,
Mark Hollis,
Moebius,
Brand Nubian,
Beasts of Bourbon,
Deepchord,
The Slits,
Suicide,
The Electric Prunes,
Harry Pussy,
Brass Construction,
Cheater Slicks,
Tomorrow,
L. Decosne,
Pete Rock & C.L. Smooth,
Lakeside, Lakeside, Lakeside, Lakeside.
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.