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 San Marino and from Bremen.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Tokyo and Portland.
I'm losing my edge to the art-school Seoul 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 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 Ice-T to the funk kids.
I played it at the 40 Watt.
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 Toasters. All the underground hits.
All The Cramps tracks. I heard you have a vinyl of every Eli Mardock 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 '70s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
The Flesh Eaters,
Jandek,
Symarip,
Drive Like Jehu,
Alton Ellis,
Larry & the Blue Notes,
Skarface,
June Days,
Drexciya,
Rites of Spring,
Dorothy Ashby,
Charles Mingus,
Fatback Band,
Fela Kuti,
Rod Modell,
The Beau Brummels,
New Order,
Neil Young,
Inner City,
The Electric Prunes,
the Germs,
Reagan Youth,
Marine Girls,
Kas Product,
Eddi Front,
Young Marble Giants,
Ossler,
Animal Collective,
Amon Düül II,
Ponytail,
Hashim,
One Last Wish,
Minny Pops,
Faraquet,
The American Breed,
The Buckinghams,
Red Lorry Yellow Lorry,
D'Angelo,
Pulsallama,
John Coltrane,
Mars,
Shuggie Otis,
Alphaville,
Quadrant,
Tubeway Army,
The Golliwogs,
La Düsseldorf,
Robert Görl,
Jeff Mills,
the Normal,
The Moody Blues,
Supertramp,
Flamin' Groovies,
Lou Reed & Metallica,
Audionom,
Kerri Chandler,
The Star Department,
The West Coast Pop Art Experimental Band,
Gang Starr,
Sarah Menescal,
Bobby Womack, Bobby Womack, Bobby Womack, Bobby Womack.
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.