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 Bangladesh and from Toronto.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Tokyo and Jakarta.
I'm losing my edge to the art-school Spokane 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 808 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 Dorothy Ashby to the crunk 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 The Residents. All the underground hits.
All the Bar-Kays tracks. I heard you have a vinyl of every Half Japanese 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 '50s cut and another box set from the '90s.
I hear you're buying a güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Starr,
Vladislav Delay,
The Doors,
Crash Course in Science,
The Pretty Things,
Sixth Finger,
Darondo,
Monolake,
Bad Manners,
Wings,
Echospace,
Bauhaus,
Delon & Dalcan,
The Cramps,
Joe Finger,
Sunsets and Hearts,
Jacob Miller,
Mary Jane Girls,
Half Japanese,
Gil Scott-Heron & Brian Jackson,
Matthew Halsall,
The Gap Band,
Crime,
Khruangbin,
the Normal,
Sun Ra,
The Angels of Light,
Wasted Youth,
the Sonics,
Scan 7,
8 Eyed Spy,
R.M.O.,
The Peanut Butter Conspiracy,
Todd Terry,
The Martian,
Thompson Twins,
The Techniques,
Anthony Braxton,
Josef K,
Henry Cow,
Graham Central Station,
Scott Walker + Sunn O))),
Pussy Galore,
Lou Reed,
Second Layer,
Gabor Szabo,
Outsiders,
Cluster,
Liaisons Dangereuses,
Teenage Jesus and the Jerks,
Robert Hood,
Sad Lovers and Giants,
The Skatalites,
Gastr Del Sol,
Stereo Dub,
Scion,
Ajijia Myrayebe,
Cabaret Voltaire,
The Fugs,
The Modern Lovers, The Modern Lovers, The Modern Lovers, The Modern Lovers.
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.