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 Madagascar and from Bologna.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Cairo and Salvador.
I'm losing my edge to the art-school Seoul 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 theremin 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 Brand Nubian to the electroclash 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 Essential Logic. All the underground hits.
All Jacques Brel tracks. I heard you have a vinyl of every Laurel Aitken record on German import.
I heard that you have a white label of every seminal techno 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 sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Cramps record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash and the Furious Five,
Audionom,
Kool G Rap & DJ Polo,
The Cosmic Jokers,
Niagra,
Moby Grape,
Bluetip,
Warsaw,
Boogie Down Productions,
Japan,
Absolute Body Control,
Chris & Cosey,
The Beau Brummels,
D'Angelo,
Rites of Spring,
Youth Brigade,
Siglo XX,
Los Fastidios,
MDC,
Crash Course in Science,
Mary Jane Girls,
Donny Hathaway,
Joe Smooth,
Minor Threat,
Drive Like Jehu,
Pylon,
Eric Dolphy,
Don Cherry,
the Sonics,
Electric Prunes,
Cameo,
Darondo,
David McCallum,
Sonny Sharrock,
Shoche,
Kayak,
Oppenheimer Analysis,
Pulsallama,
Röyhkä ja Rättö ja Lehtisalo,
Brass Construction,
Television Personalities,
Severed Heads,
Saccharine Trust,
Donald Byrd,
Ultravox,
Ken Boothe,
Vladislav Delay,
Unwound,
Royal Trux,
Yaz,
Marc Romboy vs. Booka Shade,
Mad Mike,
Pole,
Bob Dylan,
Ten City,
Can,
The Litter,
Colin Newman,
Jandek,
Quando Quango,
Ultimate Spinach,
The American Breed,
Surgeon,
The Zeros, The Zeros, The Zeros, The Zeros.
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.