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 Seychelles and from Salvador.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1977.
I'm losing my edge.
To all the kids in Delhi and Portland.
I'm losing my edge to the art-school Bremen 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 1978 at the first Visage practice in a loft in London.
I was working on the marimba sounds with much patience.
I was there when Donald Fagen 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 Bronski Beat to the punk kids.
I played it at the Spitz.
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 Charles Mingus. All the underground hits.
All Andrew Ashong & Theo Parrish tracks. I heard you have a vinyl of every Ornette Coleman 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 '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Richard Hell and the Voidoids record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
De La Soul & Jungle Brothers,
Dual Sessions,
The Standells,
Harmonia,
Minnie Riperton,
Peter and Kerry,
Ossler,
Pole,
Quantec,
Mandrill,
Flash Fearless,
Alison Limerick,
Lonnie Liston Smith,
FM Einheit,
Brick,
Saccharine Trust,
The Litter,
Loose Ends,
Spandau Ballet,
Pierre Henry,
Davy DMX,
8 Eyed Spy,
Average White Band,
Massinfluence,
Black Flag,
Sparks,
D'Angelo,
Eddi Front,
Rufus Thomas,
Joe Smooth,
Ultra Naté,
Schoolly D,
Deadbeat,
Unwound,
Ronan,
Ronnie Foster,
Cybotron,
Scan 7,
Brothers Johnson,
Jesper Dahlback,
Make Up,
Crispy Ambulance,
Traffic Nightmare,
Sexual Harrassment,
Pantaleimon,
The Monochrome Set,
Anthony Braxton,
EPMD,
Babytalk,
Bluetip,
The Residents,
Avey Tare & Kría Brekkan,
Joensuu 1685,
the Association,
Albert Ayler,
Gabor Szabo,
Terror Squad Feat. Camron,
Bizarre Inc.,
Lakeside,
World's Most, World's Most, World's Most, World's Most.
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.