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 San Marino and from Stockholm.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Tehran.
I'm losing my edge to the art-school Manchester 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 arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Louis and Bebe Barron to the jazz kids.
I played it at the Crocodile.
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 Marcia Griffiths. All the underground hits.
All Fatback Band tracks. I heard you have a vinyl of every Circle Jerks record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Severed Heads record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ice-T,
Moss Icon,
LL Cool J,
The Buckinghams,
Max Romeo,
Kool Moe Dee,
Sam Rivers,
the Swans,
Camron Feat. Memphis Bleek And Beenie Seigel,
Lou Reed & John Cale,
Au Pairs,
Eden Ahbez,
Piero Umiliani,
Thee Headcoats,
Jacob Miller,
The Standells,
Public Image Ltd.,
Steve Hackett,
Delon & Dalcan,
Ultimate Spinach,
Mary Jane Girls,
The Motions,
T. Rex,
Severed Heads,
Sex Pistols,
Andrew Ashong & Theo Parrish,
Pussy Galore,
Fad Gadget,
Yellowson,
Marshall Jefferson,
Be Bop Deluxe,
Spandau Ballet,
Terry Callier,
The Remains,
Bob Dylan,
Roy Ayers Ubiquity,
Bizarre Inc.,
Judy Mowatt,
8 Eyed Spy,
The Monks,
The Smiths,
Laurel Aitken,
Tears for Fears,
Sly & The Family Stone,
Grandmaster Flash,
The Toasters,
Kerrie Biddell,
The Sound,
Ash Ra Tempel,
Tubeway Army,
48th St. Collective,
Flamin' Groovies,
Beasts of Bourbon,
Porter Ricks,
Audionom,
Royal Trux,
the Normal,
Ossler,
Model 500,
The Neon Judgement,
Flash Fearless,
Ohio Players, Ohio Players, Ohio Players, Ohio Players.
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.