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 Belgium and from Taipei.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 Beijing and Madrid.
I'm losing my edge to the art-school Cairo 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 Soul II Soul to the disco 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 L. Decosne. All the underground hits.
All Terry Callier tracks. I heard you have a vinyl of every Prince Buster 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 '50s cut and another box set from the '90s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Jawbox record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Niagra,
The Dirtbombs,
T. Rex,
Camouflage,
Harmonia,
The Gap Band,
Sun Ra Arkestra,
Public Enemy,
Kool Moe Dee,
Todd Terry,
Accadde A,
KRS-One,
The Skatalites,
Marvin Gaye,
Rufus Thomas,
Nico,
The Shadows of Knight,
The Beau Brummels,
Crispy Ambulance,
48th St. Collective,
X-Ray Spex,
Beasts of Bourbon,
E-Dancer,
Essential Logic,
Ultimate Spinach,
Blossom Toes,
Jandek,
Organ,
Darondo,
Soul Sonic Force,
Negative Approach,
Ken Boothe,
The Doobie Brothers,
The Wake,
Harry Pussy,
Throbbing Gristle,
Fugazi,
Reagan Youth,
Skaos,
The Martian,
Simply Red,
Mars,
Kevin Saunderson,
The Jesus and Mary Chain,
Arcadia,
Amon Düül,
The Pop Group,
Dual Sessions,
One Last Wish,
Robert Görl,
Neil Young & Crazy Horse,
Selector Dub Narcotic,
Eve St. Jones,
Man Parrish,
Art Ensemble Of Chicago,
The Techniques,
Scratch Acid,
Robert Hood,
Judy Mowatt,
Inner City,
London Community Gospel Choir, London Community Gospel Choir, London Community Gospel Choir, London Community Gospel Choir.
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.