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 Saudi Arabia and from Bremen.
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 Mexico City and Stockholm.
I'm losing my edge to the art-school London 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the clarinet 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 Aloha Tigers to the jazz kids.
I played it at Trash.
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 Marshall Jefferson. All the underground hits.
All Kaleidoscope tracks. I heard you have a vinyl of every Gang Gang Dance record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Nas record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Dorothy Ashby,
It's A Beautiful Day,
Todd Terry,
Scan 7,
The Doobie Brothers,
The Flesh Eaters,
Roxette,
The Alarm Clocks,
Mad Mike,
Oneida,
Stetsasonic,
Parry Music,
John Cale,
The Dirtbombs,
Althea and Donna,
The Saints,
Larry & the Blue Notes,
Funkadelic,
Country Joe & The Fish,
Sun Ra Arkestra,
The Associates,
X-101,
the Fania All-Stars,
Man Eating Sloth,
The Slits,
Qualms,
Blake Baxter,
Roy Ayers Ubiquity,
Trumans Water,
Drive Like Jehu,
Curtis Mayfield,
Crooked Eye,
Maleditus Sound,
The Skatalites,
a-ha,
Neu!,
Suburban Knight,
Crispian St. Peters,
The Blues Magoos,
This Heat,
Marvin Gaye,
Kango’s Stein Massive,
Electric Prunes,
Scratch Acid,
Jerry Gold Smith,
cv313,
The Durutti Column,
Main Source,
Grandmaster Flash and the Furious Five,
Pylon,
The Men They Couldn't Hang,
Aloha Tigers,
Skriet,
Ken Boothe,
Black Flag,
Cybotron,
The Peanut Butter Conspiracy,
Moby Grape,
Barrington Levy,
Lalo Schifrin,
Camberwell Now, Camberwell Now, Camberwell Now, Camberwell Now.
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.