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 Nicaragua and from Tehran.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1978.
I'm losing my edge.
To all the kids in Winnipeg and Mexico City.
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 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 David Bowie 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 Art Ensemble Of Chicago to the electroclash kids.
I played it at the Crocodile.
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 Big Daddy Kane. All the underground hits.
All Icehouse tracks. I heard you have a vinyl of every Robert Hood record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moebius,
Dawn Penn,
Letta Mbulu,
Mary Jane Girls,
Faraquet,
The Detroit Cobras,
Richard Hell and the Voidoids,
The Electric Prunes,
Saccharine Trust,
Gabor Szabo,
Fort Wilson Riot,
Livin' Joy,
Eric Dolphy,
Bush Tetras,
Von Mondo,
the Slits,
Excepter,
Trumans Water,
Arab on Radar,
The Golliwogs,
The Index,
Jerry's Kids,
Nils Olav,
Organ,
Lafayette Afro Rock Band,
Alton Ellis,
Ornette Coleman,
Technova,
Camron Feat. Memphis Bleek And Beenie Seigel,
Pole,
Minnie Riperton,
Oppenheimer Analysis,
Red Lorry Yellow Lorry,
James White and The Blacks,
Curtis Mayfield,
Anakelly,
John Lydon,
Prince Buster,
Can,
Sandy B,
Bobby Byrd,
The Count Five,
The Walker Brothers,
The Tremeloes,
Scientists,
Malaria!,
The Dirtbombs,
Aswad,
MDC,
Basic Channel,
The Pop Group,
Ohio Players,
Peter & Gordon,
The Neon Judgement,
D'Angelo,
Loose Ends,
Pharaoh Sanders and the Fire Engines,
Lou Reed,
Arcadia,
Panda Bear,
Avey Tare,
Sex Pistols, Sex Pistols, Sex Pistols, Sex Pistols.
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.