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 Germany 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 1962 to 1975.
I'm losing my edge.
To all the kids in Milan and Johannesburg.
I'm losing my edge to the art-school Hong Kong 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the chamberlin 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 Radio Birdman to the dance 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 Echospace. All the underground hits.
All Monolake tracks. I heard you have a vinyl of every Rotary Connection record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your guitar and bought a snare.
I hear that you and your band have sold your snare and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Supertramp,
DeepChord presents Echospace,
Al Stewart,
Danielle Patucci,
Johnny Clarke,
Nico,
Section 25,
Malaria!,
The Names,
Kango’s Stein Massive,
Parry Music,
Avey Tare & Kría Brekkan,
Heavy D & The Boyz,
Derrick May,
Aloha Tigers,
Deadbeat,
Iggy Pop,
Pole,
Pierre Henry,
Selector Dub Narcotic,
Archie Shepp,
Au Pairs,
John Holt,
Little Man,
Accadde A,
Ken Boothe,
Crispian St. Peters,
Lafayette Afro Rock Band,
Rhythm & Sound,
The Tremeloes,
Pussy Galore,
Deutsch Amerikanische Freundschaft,
Tom Boy,
The Happenings,
Eurythmics,
The Skatalites,
David Bowie,
Prince Buster,
Public Enemy,
Cameo,
Neu!,
Andrew Ashong & Theo Parrish,
The Mighty Diamonds,
Mo-Dettes,
Faust,
Gian Franco Pienzio,
Cecil Taylor,
World's Most,
Pharaoh Sanders and the Fire Engines,
Sight & Sound,
Groovy Waters,
Oneida,
Essential Logic,
The Red Krayola,
The Flesh Eaters,
B.T. Express,
Oblivians,
Albert Ayler,
Harry Pussy,
The Barracudas,
Rufus Thomas,
Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs.
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.