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 Australia and from Woodstock.
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 1979.
I'm losing my edge.
To all the kids in Stockholm and Philadelphia.
I'm losing my edge to the art-school Lyon 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 harpsichord sounds with much patience.
I was there when Holger Czukay 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 Schoolly D to the jazz 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 Vogues. All the underground hits.
All The Tremeloes tracks. I heard you have a vinyl of every Trumans Water record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suburban Knight,
Althea and Donna,
Selector Dub Narcotic,
The Misunderstood,
Gerry Rafferty,
John Cale,
Basic Channel,
Nico,
Ronan,
Eve St. Jones,
Loose Ends,
Bootsy Collins,
Audionom,
E-Dancer,
Bad Manners,
Steve Hackett,
Stiv Bators,
The Skatalites,
Metal Thangz,
The Velvet Underground,
The Blues Magoos,
cv313,
the Association,
Ralphi Rosario,
Danielle Patucci,
Swell Maps,
Henry Cow,
Tim Buckley,
Curtis Mayfield,
Piero Umiliani,
Jeru the Damaja,
Hoover,
The Fortunes,
Bang On A Can,
The Real Kids,
The Searchers,
The Victims,
Eric B and Rakim,
Derrick May,
The Standells,
Erasure,
Godley & Creme,
Zero Boys,
Michelle Simonal,
Sixth Finger,
Yusef Lateef,
the Fania All-Stars,
Maleditus Sound,
Subhumans,
Das Ding,
Moebius,
Marc Almond,
EPMD,
Nas,
Richard Hell and the Voidoids,
Con Funk Shun,
Desert Stars,
Juan Atkins,
Jacob Miller, Jacob Miller, Jacob Miller, Jacob Miller.
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.