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 Macedonia and from Madrid.
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 1969 to 1976.
I'm losing my edge.
To all the kids in New York and Johannesburg.
I'm losing my edge to the art-school Accra 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the snare 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 Moss Icon to the dance kids.
I played it at CBGB's.
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 Joensuu 1685. All the underground hits.
All Technova tracks. I heard you have a vinyl of every Simply Red 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 guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Monks record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mantronix,
Minnie Riperton,
Gabor Szabo,
The Sisters of Mercy,
Motorama,
Eurythmics,
The Shadows of Knight,
Country Teasers,
Outsiders,
Notorious BIG live in Amsterdam,
Terrestrial Tones,
Aaron Thompson,
Jandek,
Peter and Kerry,
Bootsy's Rubber Band,
The Offenders,
Essential Logic,
Rhythim Is Rhythim,
the Swans,
Be Bop Deluxe,
Fear,
The Jesus and Mary Chain,
Index,
Spoonie Gee,
Urselle,
Fort Wilson Riot,
Lalo Schifrin,
Sexual Harrassment,
Al Stewart,
Dark Day,
Soulsonic Force,
Easy Going,
Deepchord,
Isaac Hayes,
Cybotron,
Oneida,
Bang on a Can All-Stars,
Peter & Gordon,
Eden Ahbez,
Wasted Youth,
Tres Demented,
Laurel Aitken,
London Community Gospel Choir,
Donny Hathaway,
Crooked Eye,
Freddie Wadling,
The Neon Judgement,
Anthony Braxton,
Monks,
Connie Case,
Marine Girls,
Prince Buster,
June Days,
Crispian St. Peters,
Neil Young & Crazy Horse,
Negative Approach,
Joe Finger,
Hardrive,
Jeff Lynne,
Andrew Ashong & Theo Parrish,
Sunsets and Hearts,
Patti Smith,
Loose Ends, Loose Ends, Loose Ends, Loose Ends.
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.