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 Sudan and from Johannesburg.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Portland and Bremen.
I'm losing my edge to the art-school Lagos 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 snare sounds with much patience.
I was there when Michael McDonald 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 Lee Hazlewood to the rock kids.
I played it at the Troubador.
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 Tremeloes. All the underground hits.
All These Immortal Souls tracks. I heard you have a vinyl of every Delta 5 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 '70s cut and another box set from the '90s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a In Retrospect record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stiv Bators,
Peter Gordon & Love of Life Orchestra,
Model 500,
Television Personalities,
Pharaoh Sanders and the Fire Engines,
48th St. Collective,
Fort Wilson Riot,
Sonic Youth,
Alison Limerick,
Nick Cave & The Bad Seeds,
Pulsallama,
The Mojo Men,
Judy Mowatt,
Panda Bear,
The Sisters of Mercy,
Donald Byrd,
Liaisons Dangereuses,
Brick,
The Music Machine,
Godley & Creme,
The Residents,
The Fortunes,
Eve St. Jones,
Drexciya,
Talk Talk,
Black Moon,
Can,
The Royal Family And The Poor,
Letta Mbulu,
Roxy Music,
Harpers Bizarre,
Fela Kuti,
Anthony Braxton,
Half Japanese,
Nils Olav,
Absolute Body Control,
Siglo XX,
Rapeman,
Moebius,
Dennis Brown,
Wolf Eyes,
The Doobie Brothers,
Rufus Thomas,
Visionaries,LMNO, T- Love & Iriscience,
Ice-T,
China Crisis,
Jerry's Kids,
Thee Headcoats,
Malaria!,
Soul Sonic Force,
Rotary Connection,
The Dead C,
Don Cherry,
DJ Sneak,
Deepchord,
Yellowson,
Gong,
Sandy B,
Laurel Aitken,
Bang On A Can,
The Doors,
Deakin,
Sun Ra,
Marshall Jefferson, Marshall Jefferson, Marshall Jefferson, Marshall Jefferson.
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.