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 Bahamas and from Jakarta.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Madrid and Paris.
I'm losing my edge to the art-school Toronto 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the harpsichord sounds with much patience.
I was there when Captain Beefheart 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 Holt to the punk kids.
I played it at the 40 Watt.
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 Jimmy McGriff. All the underground hits.
All Dead Boys tracks. I heard you have a vinyl of every Talk Talk 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 '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Marshall Jefferson record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Oneida,
Eric Dolphy,
Eric Copeland,
Television,
Fatback Band,
Anakelly,
Ultravox,
Stetsasonic,
The Seeds,
Cal Tjader,
One Last Wish,
Marc Romboy vs. Booka Shade,
Gregory Isaacs,
Swell Maps,
Scott Walker + Sunn O))),
The American Breed,
Bang On A Can,
Spandau Ballet,
Simply Red,
Colin Newman,
Symarip,
Johnny Clarke,
The Barracudas,
Matthew Halsall,
Groovy Waters,
Scott Walker,
Jeru the Damaja,
The Leaves,
London Community Gospel Choir,
Brick,
De La Soul & Jungle Brothers,
Susan Cadogan,
Moss Icon,
The Neon Judgement,
Delon & Dalcan,
Infiniti,
Agent Orange,
Black Pus,
World's Most,
Harpers Bizarre,
Lalann,
Neil Young & Crazy Horse,
Todd Terry,
Crispian St. Peters,
Man Eating Sloth,
Avey Tare & Kría Brekkan,
Ornette Coleman,
Blossom Toes,
The Slackers,
Guru Guru,
Marine Girls,
Joy Division,
Gabor Szabo,
Matthew Bourne,
Aural Exciters,
Rakim,
Minny Pops,
the Fania All-Stars,
New York Dolls,
Gerry Rafferty,
Boogie Down Productions,
Adolescents,
Sugar Minott, Sugar Minott, Sugar Minott, Sugar Minott.
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.