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 Marshall Islands and from Manchester.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Halifax and Jakarta.
I'm losing my edge to the art-school Beijing 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the clarinet sounds with much patience.
I was there when Lou Reed 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 Rosa Yemen to the techno kids.
I played it at CBGB's.
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 Charles Mingus. All the underground hits.
All Sad Lovers and Giants tracks. I heard you have a vinyl of every Grey Daturas 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 '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Minny Pops record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Chocolate Watch Band,
Magazine,
June Days,
Radio Birdman,
John Coltrane,
The Velvet Underground,
Ken Boothe,
Davy DMX,
Gichy Dan,
Delon & Dalcan,
the Bar-Kays,
Deutsch Amerikanische Freundschaft,
Popol Vuh,
Sly & The Family Stone,
Lalann,
Radiopuhelimet,
Bill Wells,
Rekid,
Sonny Sharrock,
Guru Guru,
Niagra,
Silicon Teens,
Scrapy,
The American Breed,
Nas,
Fifty Foot Hose,
Second Layer,
Franke,
Fort Wilson Riot,
Black Sheep,
Khruangbin,
Alton Ellis,
David McCallum,
Tim Buckley,
Harmonia,
X-Ray Spex,
Roxy Music,
the Germs,
Scion,
Rapeman,
The Doors,
Swell Maps,
Subhumans,
Sunsets and Hearts,
X-102,
Kenny Larkin,
Johnny Osbourne,
Bad Manners,
James Chance & The Contortions,
Mantronix,
The Pretty Things,
Byron Stingily,
Moebius,
Spandau Ballet,
Black Moon,
Deakin,
Sticky Fingaz feat. Raekwon,
Maurizio,
Bizarre Inc.,
Simply Red,
kango's stein massive,
The Move, The Move, The Move, The Move.
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.