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 Libya and from Winnipeg.
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 1974.
I'm losing my edge.
To all the kids in Lille and Manchester.
I'm losing my edge to the art-school Sao Paulo 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the rhodes sounds with much patience.
I was there when Tom Verlaine 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 Half Japanese to the grime 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 James White and The Blacks. All the underground hits.
All Todd Terry tracks. I heard you have a vinyl of every Cameo 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 '60s cut and another box set from the '80s.
I hear you're buying a snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Jeff Mills record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
Little Man,
L. Decosne,
Gary Puckett & The Union Gap,
Organ,
Alison Limerick,
the Fania All-Stars,
Frankie Knuckles,
Electric Light Orchestra,
The Litter,
John Foxx,
Sun Ra Arkestra,
The Seeds,
Eric Dolphy,
The Dead C,
The Count Five,
Subhumans,
The Wake,
Marcia Griffiths,
The Sonics,
Jerry Gold Smith,
Yaz,
Peter Gordon & Love of Life Orchestra,
Stereo Dub,
The Saints,
Bill Wells,
The Shadows of Knight,
Liliput,
Procol Harum,
New York Dolls,
Gong,
Pulsallama,
The Remains,
Erykah Badu,
Derrick Morgan,
The Dave Clark Five,
Dave Gahan,
Aswad,
Ronnie Foster,
Half Japanese,
Porter Ricks,
Magma,
Wolf Eyes,
Amazonics,
Nils Olav,
Joey Negro,
Lou Reed,
Suburban Knight,
Malaria!,
The Mummies,
Whodini,
Reagan Youth,
Bush Tetras,
Fat Boys,
The Durutti Column,
Eurythmics,
Robert Wyatt,
Chrome,
Urselle,
Lou Christie,
Dr. Dre and Snoop Doggy Dog,
David Axelrod, David Axelrod, David Axelrod, David Axelrod.
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.