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 Brazil and from Philadelphia.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1973.
I'm losing my edge.
To all the kids in Calgary and Cairo.
I'm losing my edge to the art-school Tehran 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 chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Dead Boys to the grime kids.
I played it at the Roxy.
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 The Fuzztones. All the underground hits.
All A Flock of Seagulls tracks. I heard you have a vinyl of every Joe Smooth 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 '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Pylon record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mary Jane Girls,
Kool G Rap & DJ Polo,
Jimmy McGriff,
The Cramps,
Sister Nancy,
Con Funk Shun,
Cecil Taylor,
Avey Tare's Slasher Flicks,
Fluxion,
Sly & The Family Stone,
The Pop Group,
Spoonie Gee,
Slave,
Traffic Nightmare,
Excepter,
Aural Exciters,
Schoolly D,
Newcleus,
Severed Heads,
The Blues Magoos,
Alton Ellis,
Dual Sessions,
Sight & Sound,
The Knickerbockers,
Avey Tare,
The Real Kids,
Monks,
Pantytec,
Section 25,
Althea and Donna,
Kool Moe Dee,
Suicide,
Cluster,
Pulsallama,
Swell Maps,
World's Most,
Nik Kershaw,
The Leaves,
Eyeless In Gaza,
X-101,
Morten Harket,
Sun City Girls,
The Fire Engines,
Idris Muhammad,
Boz Scaggs,
The Dave Clark Five,
Boredoms,
KRS-One,
Ronnie Foster,
Kenny Larkin,
Yusef Lateef,
The Zeros,
Toni Rubio,
MDC,
Fatback Band,
Juan Atkins,
Arthur Verocai,
The Walker Brothers,
The Divine Comedy,
Jeru the Damaja,
These Immortal Souls, These Immortal Souls, These Immortal Souls, These Immortal Souls.
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.