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 Sweden and from Bologna.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Woodstock and Philadelphia.
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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the oboe sounds with much patience.
I was there when David Bowie 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 Flipper to the jazz kids.
I played it at the Crocodile.
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 Mad Mike. All the underground hits.
All Gang Starr tracks. I heard you have a vinyl of every Pantaleimon 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 808 and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nas,
Con Funk Shun,
Fluxion,
The Sound,
Mo-Dettes,
Sister Nancy,
Rod Modell,
Lonnie Liston Smith,
The Motions,
Lakeside,
Robert Hood,
Soft Cell,
The Smoke,
kango's stein massive,
Piero Umiliani,
Ponytail,
Flamin' Groovies,
Kango’s Stein Massive,
Don Cherry,
Trumans Water,
Franke,
Porter Ricks,
Kevin Saunderson,
Au Pairs,
The Dead C,
Intrusion,
Kool Moe Dee,
Pharaoh Sanders and the Fire Engines,
Scrapy,
MDC,
The Fugs,
Harpers Bizarre,
Los Fastidios,
Mr. Review,
cv313,
The Music Machine,
Unrelated Segments,
Kerri Chandler,
Surgeon,
Make Up,
Malaria!,
Donny Hathaway,
Man Eating Sloth,
Moss Icon,
D'Angelo,
Bauhaus,
Symarip,
H. Thieme,
Tropical Tobacco,
Andrew Hill,
MC5,
F. McDonald,
Glambeats Corp.,
Isaac Hayes,
Super Lover Cee & Casanova Rud,
Yazoo,
The Evens,
E-Dancer,
Morten Harket,
Alphaville,
Lebanon Hanover,
Leonard Cohen,
Ossler,
The Peanut Butter Conspiracy,
Sun Ra Arkestra, Sun Ra Arkestra, Sun Ra Arkestra, Sun Ra Arkestra.
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.