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 Dominica and from London.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Mumbai and Bologna.
I'm losing my edge to the art-school Woodstock 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 spring reverb 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 Warren Ellis to the rap 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 Derrick May. All the underground hits.
All The Fugs tracks. I heard you have a vinyl of every Bobby Sherman 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 '90s.
I hear you're buying a guitar and a theremin 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 arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moebius,
The Fugs,
Skarface,
Ten City,
Dr. Dre and Snoop Doggy Dog,
Sex Pistols,
Desert Stars,
Boogie Down Productions,
Sad Lovers and Giants,
Liaisons Dangereuses,
Bad Manners,
Thompson Twins,
The Fuzztones,
K-Klass,
Joe Smooth,
Josef K,
Gary Puckett & The Union Gap,
Joey Negro,
Wire,
Zapp,
Sexual Harrassment,
the Normal,
Grandmaster Flash,
Gang Starr,
Mandrill,
John Foxx,
Hardrive,
Crispy Ambulance,
Terrestrial Tones,
Circle Jerks,
June of 44,
Ossler,
Skriet,
Liliput,
Grey Daturas,
Anakelly,
Hasil Adkins,
Boz Scaggs,
Jimmy McGriff,
Unwound,
The Index,
Duran Duran,
Public Enemy,
Can,
Stiv Bators,
Kenny Larkin,
Ludus,
Stockholm Monsters,
Warsaw,
The Invisible,
La Düsseldorf,
Pantytec,
Sun City Girls,
Jacques Brel,
Masters at Work,
Interpol,
Graham Central Station,
Funkadelic,
Visage,
Funky Four + One,
Agent Orange,
Strawberry Alarm Clock,
Japan,
The Motions, The Motions, The Motions, The Motions.
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.