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 Israel and from Philadelphia.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Paris and Tehran.
I'm losing my edge to the art-school Jakarta 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 mellotron 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 Masters at Work to the techno 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 Scrapy. All the underground hits.
All Faust tracks. I heard you have a vinyl of every The Invisible record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Sly & The Family Stone record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fifty Foot Hose,
Fad Gadget,
Aloha Tigers,
Boredoms,
ABBA,
Joe Finger,
Eddi Front,
Kool G Rap & DJ Polo,
The Cowsills,
Rhythim Is Rhythim,
The Stooges,
UT,
Lower 48,
The Pop Group,
Black Sheep,
Richard Hell and the Voidoids,
Lou Reed,
The Mojo Men,
Vainqueur,
Stockholm Monsters,
Larry & the Blue Notes,
The Toasters,
The Velvet Underground,
The New Christs,
Animal Collective,
Icehouse,
Theoretical Girls,
Barry Ungar,
Arab on Radar,
La Düsseldorf,
Mantronix,
Alton Ellis,
Peter Gordon & Love of Life Orchestra,
The Dirtbombs,
Danielle Patucci,
Qualms,
Ralphi Rosario,
Little Man,
Neil Young,
Piero Umiliani,
Marcia Griffiths,
Red Lorry Yellow Lorry,
The Divine Comedy,
Notorious BIG live in Amsterdam,
Crash Course in Science,
Davy DMX,
Crime,
The Peanut Butter Conspiracy,
Man Parrish,
Curtis Mayfield,
Selector Dub Narcotic,
Adolescents,
Monks,
U.S. Maple,
D'Angelo,
Nick Fraelich,
Shoche,
Index,
Darondo,
Jacob Miller,
Dark Day,
The Standells,
The Raincoats,
AZ,
Tears for Fears, Tears for Fears, Tears for Fears, Tears for Fears.
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.