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 Sri Lanka and from Madrid.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1964 to 1970.
I'm losing my edge.
To all the kids in London and Copenhagen.
I'm losing my edge to the art-school Paris 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 chamberlin 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 John Lydon to the rap kids.
I played it at the Troubador.
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 DeepChord presents Echospace. All the underground hits.
All Scott Walker tracks. I heard you have a vinyl of every Angels of Light & Akron/Family record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Funkadelic record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
KRS-One,
Sex Pistols,
Jawbox,
Marine Girls,
T. Rex,
Grandmaster Flash and the Furious Five,
Gregory Isaacs,
Dawn Penn,
The Dead C,
LL Cool J,
Todd Terry,
Los Fastidios,
Pole,
Unrelated Segments,
Oneida,
Lakeside,
Roy Ayers,
Sly & The Family Stone,
David Bowie,
Monolake,
Amon Düül,
Selector Dub Narcotic,
Man Parrish,
The Searchers,
Alison Limerick,
John Cale,
Tropical Tobacco,
The Slits,
Notorious BIG live in Amsterdam,
Sun Ra Arkestra,
Pantaleimon,
Pantytec,
Clear Light,
Motorama,
Ornette Coleman,
Cameo,
Donald Byrd,
The Invisible,
Piero Umiliani,
Jesper Dahlbäck,
The Modern Lovers,
Smog,
the Human League,
Blake Baxter,
The Stooges,
Sandy B,
Rekid,
Eurythmics,
Altered Images,
Ultramagnetic MC's,
Crash Course in Science,
Fluxion,
Flamin' Groovies,
R.M.O.,
D'Angelo,
The Monochrome Set,
the Bar-Kays,
Average White Band,
Robert Hood,
The Electric Prunes,
Underground Resistance,
Crispy Ambulance, Crispy Ambulance, Crispy Ambulance, Crispy Ambulance.
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.