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 United Kingdom and from Portland.
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 1970.
I'm losing my edge.
To all the kids in Portland and Accra.
I'm losing my edge to the art-school Hong Kong 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the guitar 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 James White and The Blacks to the techno 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 Selector Dub Narcotic. All the underground hits.
All Maleditus Sound tracks. I heard you have a vinyl of every Tropical Tobacco record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare's Slasher Flicks,
Underground Resistance,
Accadde A,
The United States of America,
Bad Manners,
Agent Orange,
Youth Brigade,
Soulsonic Force,
Stereo Dub,
X-101,
Little Man,
Lower 48,
The Evens,
Sandy B,
The Kinks,
Scratch Acid,
Hasil Adkins,
Donny Hathaway,
Rites of Spring,
Desert Stars,
Al Stewart,
The Slackers,
Crispian St. Peters,
Jeff Lynne,
Moby Grape,
Livin' Joy,
Hot Snakes,
Dead Boys,
Flamin' Groovies,
Amon Düül,
Grey Daturas,
Tomorrow,
Shoche,
Fela Kuti,
Visage,
The Associates,
The Vogues,
The Five Americans,
A Certain Ratio,
Jesper Dahlback,
Marvin Gaye,
Royal Trux,
Gang Gang Dance,
Reuben Wilson,
DJ Style,
Kango’s Stein Massive,
Iggy Pop,
Excepter,
Unrelated Segments,
Alison Limerick,
Rahsaan Roland Kirk,
Marc Almond,
Das Ding,
Derrick May,
Trumans Water,
Outsiders,
Supertramp,
Kool G Rap & DJ Polo,
Liliput,
ABC,
Soft Machine,
cv313,
Robert Hood, Robert Hood, Robert Hood, Robert Hood.
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.