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 Croatia and from Sao Paulo.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Salvador and Winnipeg.
I'm losing my edge to the art-school Madrid 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 organ sounds with much patience.
I was there when Donald Fagen 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 Avey Tare to the disco kids.
I played it at the Troubador.
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 Lou Reed & Metallica. All the underground hits.
All Rhythm & Sound tracks. I heard you have a vinyl of every Masters at Work record on German import.
I heard that you have a white label of every seminal grime 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 clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Pussy Galore record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minor Threat,
U.S. Maple,
MDC,
The Knickerbockers,
Accadde A,
Ronnie Foster,
World's Most,
Funkadelic,
Kango’s Stein Massive,
Kaleidoscope,
Charles Mingus,
Super Lover Cee & Casanova Rud,
Fluxion,
Maurizio,
H. Thieme,
Neu!,
X-102,
Trumans Water,
Lafayette Afro Rock Band,
Joe Smooth,
Scan 7,
Ash Ra Tempel,
Avey Tare's Slasher Flicks,
Kas Product,
Jacques Brel,
the Swans,
Gang of Four,
Groovy Waters,
Tres Demented,
Black Flag,
Byron Stingily,
Oppenheimer Analysis,
Nas,
Andrew Hill,
The Beau Brummels,
Pere Ubu,
Bobbi Humphrey,
The Modern Lovers,
The Slackers,
DJ Sneak,
Parry Music,
Soft Cell,
Television,
Amon Düül II,
The Last Poets,
The Smoke,
Blossom Toes,
Big Daddy Kane,
Lebanon Hanover,
Todd Terry,
Country Teasers,
Eric Dolphy,
Ultravox,
Robert Görl,
Art Ensemble Of Chicago,
L. Decosne,
The Misunderstood,
The Fall,
The Durutti Column,
Minnie Riperton,
Main Source,
Mary Jane Girls,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.