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 Grenada and from Jakarta.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Hong Kong and Shanghai.
I'm losing my edge to the art-school Columbus 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the güiro 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 Louis and Bebe Barron to the rap 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 Blossom Toes. All the underground hits.
All KRS-One tracks. I heard you have a vinyl of every Dr. Dre and Snoop Doggy Dog 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 '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Slick Rick 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?
Notorious BIG live in Amsterdam,
the Fania All-Stars,
Grandmaster Flash and the Furious Five,
Pantaleimon,
Hoover,
CMW,
Boogie Down Productions,
Minutemen,
Stiv Bators,
Kango’s Stein Massive,
Skriet,
Ajijia Myrayebe,
Marmalade,
Bush Tetras,
Silicon Teens,
PIL,
The Flesh Eaters,
Tears for Fears,
Major Organ And The Adding Machine,
The Names,
Desert Stars,
The Velvet Underground,
The Neon Judgement,
Cybotron,
Jerry Gold Smith,
Eric Copeland,
Fad Gadget,
The Fuzztones,
Gian Franco Pienzio,
Simply Red,
Bauhaus,
Man Eating Sloth,
Amon Düül II,
Darondo,
The Five Americans,
James White and The Blacks,
Max Romeo,
Arcadia,
Boredoms,
It's A Beautiful Day,
EPMD,
Mandrill,
Gastr Del Sol,
the Bar-Kays,
Fluxion,
Sandy B,
Reuben Wilson,
Todd Terry,
cv313,
Judy Mowatt,
Bluetip,
Ultravox,
Average White Band,
Drive Like Jehu,
Gary Puckett & The Union Gap,
Aural Exciters,
Roger Hodgson,
Eli Mardock,
Bill Wells,
Sarah Menescal,
Minor Threat,
Be Bop Deluxe,
Andrew Ashong & Theo Parrish,
The Sisters of Mercy,
The Vogues, The Vogues, The Vogues, The Vogues.
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.