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 Mexico and from London.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Calgary.
I'm losing my edge to the art-school Spokane 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 Selda practice in a loft in Istanbul.
I was working on the mellotron 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 Barry Ungar to the punk 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 Mr. Review. All the underground hits.
All Essential Logic tracks. I heard you have a vinyl of every Excepter record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your 808 and bought a marimba.
I hear that you and your band have sold your marimba and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
cv313,
Icehouse,
Camron Feat. Memphis Bleek And Beenie Seigel,
Alice Coltrane,
David McCallum,
Little Man,
The Count Five,
Pere Ubu,
Television Personalities,
Nik Kershaw,
Gabor Szabo,
Supertramp,
Banda Bassotti,
Cymande,
Ronnie Foster,
Black Bananas,
Peter Gordon & Love of Life Orchestra,
Au Pairs,
D'Angelo,
Henry Cow,
London Community Gospel Choir,
Arcadia,
FM Einheit,
Stetsasonic,
Roy Ayers,
John Cale,
Sex Pistols,
Cecil Taylor,
Mary Jane Girls,
These Immortal Souls,
Aswad,
Rosa Yemen,
Rhythm & Sound,
Minny Pops,
The Music Machine,
Ken Boothe,
Drexciya,
Visionaries,LMNO, T- Love & Iriscience,
The Mojo Men,
Shoche,
Funkadelic,
Joensuu 1685,
The Saints,
Grandmaster Flash,
Sarah Menescal,
Eyeless In Gaza,
Pete Rock & C.L. Smooth,
Oblivians,
Max Romeo,
Intrusion,
Siglo XX,
Terry Callier,
OOIOO,
Fort Wilson Riot,
Popol Vuh,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Slave,
James White and The Blacks,
The Gap Band,
Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars.
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.