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 Honduras and from Mexico City.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Portland and Glasgow.
I'm losing my edge to the art-school Sao Paulo 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 sitar 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 Wolf Eyes to the jazz 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 the Sonics. All the underground hits.
All Supertramp tracks. I heard you have a vinyl of every Bluetip 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 '60s cut and another box set from the '80s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Funkadelic record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ludus,
The Dirtbombs,
Lower 48,
X-101,
Sonic Youth,
Agitation Free,
Sunsets and Hearts,
Trumans Water,
Steve Hackett,
Bobby Sherman,
Thinking Fellers Union Local 282,
Eurythmics,
Rod Modell,
Strawberry Alarm Clock,
Gil Scott-Heron & Brian Jackson,
Tomorrow,
One Last Wish,
It's A Beautiful Day,
Sarah Menescal,
Judy Mowatt,
The Peanut Butter Conspiracy,
Black Flag,
Sam Rivers,
Oblivians,
Pantytec,
Japan,
Leonard Cohen,
Godley & Creme,
B.T. Express,
Angels of Light & Akron/Family,
Skriet,
Yazoo,
Pet Shop Boys,
Colin Newman,
Juan Atkins,
The Monks,
the Fania All-Stars,
Al Stewart,
Jeff Mills,
Metal Thangz,
Rhythm & Sound,
Vladislav Delay,
Soft Machine,
The Toasters,
Charles Mingus,
Lightning Bolt,
10cc,
The West Coast Pop Art Experimental Band,
The Royal Family And The Poor,
Dark Day,
Drive Like Jehu,
Half Japanese,
Sun Ra,
Skarface,
Fluxion,
Cybotron,
London Community Gospel Choir,
Lizzy Mercier Descloux,
Bobby Byrd,
Camberwell Now,
Joe Finger,
Rakim, Rakim, Rakim, Rakim.
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.