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 Germany and from Bologna.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Houston and Columbus.
I'm losing my edge to the art-school Copenhagen 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Gil Scott Heron to the grunge kids.
I played it at the Astoria.
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 Kevin Saunderson. All the underground hits.
All The Gladiators tracks. I heard you have a vinyl of every Arthur Verocai 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 '50s cut and another box set from the '70s.
I hear you're buying a guitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Pharoah Sanders record.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minnie Riperton,
Deepchord,
It's A Beautiful Day,
the Bar-Kays,
The Human League,
Maleditus Sound,
The Leaves,
Scientists,
Roxy Music,
Sight & Sound,
F. McDonald,
H. Thieme,
Cal Tjader,
Arab on Radar,
Fifty Foot Hose,
Soft Cell,
Magazine,
Angry Samoans,
Thee Headcoats,
Depeche Mode,
The American Breed,
Alphaville,
Icehouse,
Goldenarms,
Severed Heads,
The Young Rascals,
Main Source,
Terry Callier,
The Velvet Underground,
Peter Gordon & Love of Life Orchestra,
The Alarm Clocks,
The Peanut Butter Conspiracy,
Al Stewart,
Eli Mardock,
Rosa Yemen,
8 Eyed Spy,
Laurel Aitken,
Wolf Eyes,
Patti Smith,
The Golliwogs,
Jesper Dahlback,
Tubeway Army,
Roy Ayers,
Kaleidoscope,
Lou Reed & John Cale,
DJ Style,
The Gories,
Hardrive,
Unrelated Segments,
The Royal Family And The Poor,
T. Rex,
Neu!,
Dead Boys,
Radiopuhelimet,
The J.B.'s,
Nick Fraelich,
The Toasters,
the Association,
Masters at Work,
Symarip,
Ash Ra Tempel, Ash Ra Tempel, Ash Ra Tempel, Ash Ra Tempel.
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.