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 Cambodia and from Cairo.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1971.
I'm losing my edge.
To all the kids in Philadelphia and Mexico City.
I'm losing my edge to the art-school Sao Paulo 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 Nile Rodgers 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 Gary Puckett & The Union Gap to the dance kids.
I played it at the Astoria.
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 Neil Young. All the underground hits.
All Amon Düül tracks. I heard you have a vinyl of every The Men They Couldn't Hang record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a D'Angelo record.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bob Dylan,
Donald Byrd,
The Detroit Cobras,
Barclay James Harvest,
Black Moon,
Quantec,
Y Pants,
The Saints,
Ten City,
Scrapy,
The Barracudas,
Lalann,
Kurtis Blow,
The Leaves,
Deepchord,
The Doors,
Ornette Coleman,
Depeche Mode,
Marshall Jefferson,
Echospace,
The Alarm Clocks,
The Seeds,
Boz Scaggs,
Sarah Menescal,
The Monochrome Set,
Graham Central Station,
Crooked Eye,
The Angels of Light,
Ronnie Foster,
Moby Grape,
The Fortunes,
Pere Ubu,
Todd Terry,
Chrome,
Jacob Miller,
Connie Case,
10cc,
Curtis Mayfield,
Neu!,
Gang Green,
Hasil Adkins,
Mo-Dettes,
The Names,
Eric B and Rakim,
L. Decosne,
Ken Boothe,
Kango’s Stein Massive,
Robert Görl,
Amon Düül,
Juan Atkins,
The Wake,
Lyres,
Black Bananas,
Siglo XX,
John Holt,
The Dirtbombs,
Rufus Thomas,
Reagan Youth,
Little Man,
Eurythmics,
Lafayette Afro Rock Band,
Altered Images,
Arthur Verocai, Arthur Verocai, Arthur Verocai, Arthur Verocai.
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.