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 Iraq and from Stockholm.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1968 to 1972.
I'm losing my edge.
To all the kids in New York and London.
I'm losing my edge to the art-school Glasgow 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 güiro sounds with much patience.
I was there when Robert Palmer 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 Notorious BIG live in Amsterdam to the rock kids.
I played it at the Astoria.
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 Last Poets. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every Rahsaan Roland Kirk record on German import.
I heard that you have a white label of every seminal techno 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 marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
CMW,
Minnie Riperton,
Rahsaan Roland Kirk,
Altered Images,
Fort Wilson Riot,
The Last Poets,
The Monks,
Blancmange,
Louis and Bebe Barron,
The Dave Clark Five,
Organ,
Joe Smooth,
Pierre Henry,
Selector Dub Narcotic,
Donny Hathaway,
The Human League,
Ken Boothe,
Scott Walker,
The Mummies,
Danielle Patucci,
Soul Sonic Force,
Tomorrow,
Lou Reed & John Cale,
Hoover,
Rakim,
Kerrie Biddell,
Bobby Byrd,
Liliput,
Magazine,
The Jesus and Mary Chain,
Yellowson,
Janne Schatter,
Manfred Mann's Earth Band,
The Royal Family And The Poor,
Mary Jane Girls,
Moby Grape,
Camouflage,
The Walker Brothers,
Country Teasers,
Rekid,
Bob Dylan,
Crash Course in Science,
Ultramagnetic MC's,
Gian Franco Pienzio,
The Flesh Eaters,
Procol Harum,
Echo & the Bunnymen,
Boogie Down Productions,
Mad Mike,
Grandmaster Flash and the Furious Five,
Lucky Dragons,
Camron Feat. Memphis Bleek And Beenie Seigel,
Jesper Dahlback,
The Trojans,
Ronan,
Scan 7,
Oblivians,
Massinfluence,
Drexciya,
Underground Resistance,
B.T. Express,
Glenn Branca,
Pylon,
the Germs, the Germs, the Germs, the Germs.
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.