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 Mexico and from Salvador.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Johannesburg and Accra.
I'm losing my edge to the art-school Shanghai 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the spring reverb 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 Magazine to the punk 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 Barry Ungar. All the underground hits.
All Eric B and Rakim tracks. I heard you have a vinyl of every Ash Ra Tempel record on German import.
I heard that you have a white label of every seminal rap 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 spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Traffic Nightmare record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Saccharine Trust,
Roy Ayers,
Carl Craig,
Barrington Levy,
Colin Newman,
Cheater Slicks,
A Flock of Seagulls,
Skarface,
Unwound,
The Velvet Underground,
Japan,
The Litter,
Zero Boys,
Agitation Free,
Rosa Yemen,
The J.B.'s,
Vaughan Mason & Crew,
Maleditus Sound,
Susan Cadogan,
Das Ding,
Flamin' Groovies,
Jesper Dahlbäck,
Fear,
Absolute Body Control,
Flash Fearless,
The Beau Brummels,
Lebanon Hanover,
The Trojans,
The Durutti Column,
Nick Cave & The Bad Seeds,
Amon Düül II,
Public Image Ltd.,
Arcadia,
Minutemen,
Letta Mbulu,
The Dirtbombs,
Eric Dolphy,
Adolescents,
Dawn Penn,
UT,
Skaos,
Thinking Fellers Union Local 282,
Pete Rock & C.L. Smooth,
Suburban Knight,
Dorothy Ashby,
Bootsy Collins,
Nick Fraelich,
Mad Mike,
8 Eyed Spy,
Section 25,
Funkadelic,
Ituana,
Gregory Isaacs,
Cal Tjader,
Bobby Byrd,
Siglo XX,
The Young Rascals,
Marcia Griffiths,
The Cramps,
Pulsallama,
Shoche,
Kurtis Blow,
AZ,
Average White Band,
Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale.
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.