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 Afghanistan and from Cairo.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Milan and Delhi.
I'm losing my edge to the art-school Milan 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Barbara Tucker to the jazz kids.
I played it at the Troubador.
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 Anakelly. All the underground hits.
All Big Daddy Kane tracks. I heard you have a vinyl of every Peter & Gordon record on German import.
I heard that you have a white label of every seminal jazz 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 sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Gang Starr record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Groovy Waters,
The Offenders,
Alison Limerick,
Connie Case,
Dawn Penn,
Maleditus Sound,
Marc Almond,
David Axelrod,
Röyhkä ja Rättö ja Lehtisalo,
Simply Red,
F. McDonald,
Dave Gahan,
The Durutti Column,
Index,
The Doors,
Spoonie Gee,
CMW,
Tears for Fears,
Scott Walker,
Lou Reed & Metallica,
Quadrant,
Glambeats Corp.,
48th St. Collective,
Infiniti,
Tubeway Army,
LL Cool J,
Kaleidoscope,
Kool G Rap & DJ Polo,
The Star Department,
Magma,
Brothers Johnson,
Interpol,
Strawberry Alarm Clock,
Justin Hinds & The Dominoes,
Easy Going,
Khruangbin,
Oneida,
Lou Reed & John Cale,
The Music Machine,
E-Dancer,
Arthur Verocai,
New Order,
Isaac Hayes,
Electric Prunes,
Gang Gang Dance,
Silicon Teens,
Urselle,
Matthew Bourne,
Drexciya,
Gil Scott-Heron and Jamie xx,
The Last Poets,
Joe Smooth,
Accadde A,
Malaria!,
Barry Ungar,
Wally Richardson,
Main Source,
Sarah Menescal,
ABBA,
Teenage Jesus and the Jerks,
Michelle Simonal,
Althea and Donna,
Harry Pussy, Harry Pussy, Harry Pussy, Harry Pussy.
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.