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 New Zealand and from Tehran.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Glasgow and Columbus.
I'm losing my edge to the art-school London 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 sitar sounds with much patience.
I was there when Lou Reed 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 Lakeside to the funk kids.
I played it at the Roxy.
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 Notorious BIG live in Amsterdam. All the underground hits.
All Derrick May tracks. I heard you have a vinyl of every Avey Tare & Kría Brekkan record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s 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 Lee Hazlewood record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Moon,
The Doors,
Louis and Bebe Barron,
Erasure,
The Gladiators,
Godley & Creme,
Yusef Lateef,
The Gories,
Infiniti,
Metal Thangz,
These Immortal Souls,
The J.B.'s,
John Lydon,
Index,
The Men They Couldn't Hang,
Visage,
Kool G Rap & DJ Polo,
Lee Hazlewood,
The Monks,
Gastr Del Sol,
Funkadelic,
D'Angelo,
Drive Like Jehu,
The Toasters,
Tropical Tobacco,
Marmalade,
Sixth Finger,
Make Up,
Second Layer,
Ponytail,
Patti Smith,
The Music Machine,
Mandrill,
CMW,
David Axelrod,
Hashim,
Cecil Taylor,
Letta Mbulu,
Sticky Fingaz feat. Raekwon,
Soft Machine,
Todd Terry,
Bobby Womack,
Radiohead,
Ludus,
Bad Manners,
The Moleskins,
World's Most,
Yazoo,
the Swans,
Bush Tetras,
Maleditus Sound,
Altered Images,
Reuben Wilson,
The Seeds,
Pere Ubu,
June of 44,
A Certain Ratio,
Fear,
Al Stewart,
Television,
Bootsy Collins,
The Birthday Party, The Birthday Party, The Birthday Party, The Birthday Party.
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.