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 Niger and from Manila.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Toronto and Salvador.
I'm losing my edge to the art-school Houston 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the organ sounds with much patience.
I was there when Donald Fagen 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 Dual Sessions to the disco 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 Stereo Dub. All the underground hits.
All The Move tracks. I heard you have a vinyl of every Zapp record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Deutsch Amerikanische Freundschaft record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Visage,
The Index,
The Moleskins,
Harmonia,
Cameo,
Robert Görl,
Todd Terry,
Wasted Youth,
Rufus Thomas,
Big Daddy Kane,
Nation of Ulysses,
Jeru the Damaja,
Organ,
Ponytail,
Kevin Saunderson,
Frankie Knuckles,
Bizarre Inc.,
The Electric Prunes,
The Doors,
The Blackbyrds,
The Zeros,
Marmalade,
AZ,
The Detroit Cobras,
Stockholm Monsters,
Yaz,
Joe Smooth,
Derrick May,
Gang of Four,
The Slackers,
UT,
The Martian,
Bad Manners,
Panda Bear,
New Order,
Bang on a Can All-Stars,
The Black Dice,
Johnny Clarke,
The Offenders,
Brothers Johnson,
Howard Jones,
The Dead C,
Justin Hinds & The Dominoes,
Angry Samoans,
Parry Music,
Radiohead,
Audionom,
Make Up,
Buzzcocks,
The Birthday Party,
Sandy B,
Tim Buckley,
Mantronix,
Barrington Levy,
Stetsasonic,
Terry Callier,
Suicide,
Spandau Ballet,
Scientists,
The Kinks,
Youth Brigade,
Gil Scott-Heron & Brian Jackson,
Ossler,
Sarah Menescal, Sarah Menescal, Sarah Menescal, Sarah Menescal.
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.