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 Eritrea and from Jakarta.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1971.
I'm losing my edge.
To all the kids in Seoul and Bologna.
I'm losing my edge to the art-school Manila 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 Tom Verlaine 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 Ornette Coleman to the jazz 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 Janne Schatter. All the underground hits.
All Soul II Soul tracks. I heard you have a vinyl of every Bill Wells record on German import.
I heard that you have a white label of every seminal grunge 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 chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Buckinghams record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MC5,
The Electric Prunes,
Tomorrow,
the Association,
Jerry's Kids,
Moby Grape,
cv313,
Throbbing Gristle,
Delon & Dalcan,
The Dead C,
Jeff Mills,
Leonard Cohen,
Pet Shop Boys,
Rakim,
Harpers Bizarre,
The Neon Judgement,
John Foxx,
Grandmaster Flash and the Furious Five,
The Fortunes,
Eden Ahbez,
Supertramp,
Hashim,
John Coltrane,
Lou Reed & Metallica,
The Last Poets,
UT,
Dual Sessions,
Funkadelic,
Ohio Players,
Jacob Miller,
Newcleus,
The Gories,
Crime,
Shuggie Otis,
Crooked Eye,
The Litter,
Bluetip,
Section 25,
The Men They Couldn't Hang,
Nils Olav,
Parry Music,
Ossler,
Lungfish,
D'Angelo,
H. Thieme,
Arab on Radar,
Stereo Dub,
Steve Hackett,
Ponytail,
Guru Guru,
Aural Exciters,
Joensuu 1685,
Desert Stars,
Rites of Spring,
Sex Pistols,
Quando Quango,
Jesper Dahlback,
Sällskapet,
FM Einheit,
Lou Christie,
Piero Umiliani,
Tommy Roe, Tommy Roe, Tommy Roe, Tommy Roe.
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.