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 Japan 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 1964 to 1978.
I'm losing my edge.
To all the kids in Taipei and Manchester.
I'm losing my edge to the art-school Lille 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the snare sounds with much patience.
I was there when Lou Reed 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 Yaz to the techno kids.
I played it at the Hacienda.
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 Pantytec. All the underground hits.
All Frankie Knuckles tracks. I heard you have a vinyl of every Lou Christie record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Chris & Cosey record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pussy Galore,
Technova,
cv313,
Todd Terry,
Ultravox,
Larry & the Blue Notes,
Pete Rock & C.L. Smooth,
Reuben Wilson,
Mark Hollis,
Blossom Toes,
Pagans,
The Busters,
Von Mondo,
Black Flag,
Marc Romboy vs. Booka Shade,
The Beau Brummels,
Simply Red,
the Association,
Soul Sonic Force,
Kevin Saunderson,
The Moody Blues,
Groovy Waters,
Japan,
Lee Hazlewood,
The Victims,
Hoover,
Richard Hell and the Voidoids,
Sonic Youth,
Scott Walker + Sunn O))),
Mr. Review,
Nico,
Tommy Roe,
Jawbox,
Joe Finger,
Drive Like Jehu,
Liaisons Dangereuses,
Isaac Hayes,
James Chance & The Contortions,
Bush Tetras,
Nas,
Procol Harum,
Monks,
Half Japanese,
Moby Grape,
The Doors,
Sight & Sound,
The Saints,
The Happenings,
Circle Jerks,
X-101,
The Barracudas,
Eurythmics,
Lonnie Liston Smith,
Lebanon Hanover,
The Zeros,
Accadde A,
Gil Scott Heron,
Section 25,
Slick Rick,
Ohio Players,
Public Image Ltd.,
Charles Mingus, Charles Mingus, Charles Mingus, Charles Mingus.
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.