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 Senegal and from Jakarta.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Paris and Tehran.
I'm losing my edge to the art-school Calgary 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 marimba sounds with much patience.
I was there when Michael McDonald 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 Lafayette Afro Rock Band to the rock kids.
I played it at Trash.
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 Pussy Galore. All the underground hits.
All the Bar-Kays tracks. I heard you have a vinyl of every EPMD record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash and the Furious Five record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Howard Jones,
David McCallum,
Frankie Knuckles,
Gregory Isaacs,
Marshall Jefferson,
Bill Near,
The Skatalites,
H. Thieme,
Deutsch Amerikanische Freundschaft,
Sarah Menescal,
Shuggie Otis,
Jesper Dahlback,
Sam Rivers,
Michelle Simonal,
Mark Hollis,
Agent Orange,
Excepter,
KRS-One,
Wire,
Marc Romboy vs. Booka Shade,
Lucky Dragons,
Brothers Johnson,
Strawberry Alarm Clock,
The Chocolate Watch Band,
B.T. Express,
Urselle,
Man Eating Sloth,
Jeff Lynne,
Lizzy Mercier Descloux,
Kevin Saunderson,
Oneida,
The Dirtbombs,
Black Pus,
Massinfluence,
Marine Girls,
Silicon Teens,
In Retrospect,
The Residents,
Swell Maps,
E-Dancer,
Black Moon,
Robert Görl,
Tim Buckley,
Little Man,
Blake Baxter,
Bluetip,
Iggy Pop,
Arab on Radar,
London Community Gospel Choir,
Electric Light Orchestra,
Rahsaan Roland Kirk,
Hoover,
Dennis Brown,
Rapeman,
Skarface,
Kaleidoscope,
Pulsallama,
Alphaville,
Public Enemy,
Be Bop Deluxe,
X-Ray Spex,
Black Sheep,
Electric Prunes,
The Birthday Party, The Birthday Party, The Birthday Party, The Birthday Party.
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.