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 France 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 1968 to 1970.
I'm losing my edge.
To all the kids in Toronto and Woodstock.
I'm losing my edge to the art-school Tehran 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 1973 at the first Television practice in a loft in New York.
I was working on the guitar sounds with much patience.
I was there when Robert Palmer 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 Marine Girls to the grime 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 Cameo. All the underground hits.
All Big Daddy Kane tracks. I heard you have a vinyl of every Stereo Dub record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an oboe and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Main Source 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?
Soulsonic Force,
Toni Rubio,
Lebanon Hanover,
The Doors,
X-101,
48th St. Collective,
Zero Boys,
Glenn Branca,
The Litter,
Neu!,
Khruangbin,
Funky Four + One,
Half Japanese,
Fear,
The Dead C,
Nas,
Das Ding,
Teenage Jesus and the Jerks,
Graham Central Station,
The Electric Prunes,
Hashim,
Deutsch Amerikanische Freundschaft,
Derrick May,
The Sisters of Mercy,
The Last Poets,
Accadde A,
Outsiders,
Johnny Clarke,
AZ,
Avey Tare & Kría Brekkan,
Severed Heads,
Urselle,
Jimmy McGriff,
Rosa Yemen,
R.M.O.,
Lee Hazlewood,
Orchestral Manoeuvres in the Dark,
The Dirtbombs,
Jawbox,
Magazine,
The Pop Group,
Mark Hollis,
the Bar-Kays,
Ossler,
Byron Stingily,
Tres Demented,
Tubeway Army,
The Mighty Diamonds,
Marcia Griffiths,
Chris Corsano,
Television Personalities,
Lakeside,
Rod Modell,
Loose Ends,
The West Coast Pop Art Experimental Band,
Blake Baxter,
the Germs,
Grandmaster Flash,
The Evens,
Symarip,
The Sound,
Animal Collective,
Crooked Eye,
Fatback Band, Fatback Band, Fatback Band, Fatback Band.
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.