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 Bolivia 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 1964 to 1978.
I'm losing my edge.
To all the kids in Manchester and Jakarta.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the organ sounds with much patience.
I was there when Robert Palmer 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 Bang on a Can All-Stars to the dance kids.
I played it at Trash.
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 Pharoah Sanders. All the underground hits.
All Talk Talk tracks. I heard you have a vinyl of every Albert Ayler 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 '70s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Guru Guru record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sarah Menescal,
Amon Düül,
Todd Rundgren,
Harmonia,
U.S. Maple,
Barclay James Harvest,
Sly & The Family Stone,
The Red Krayola,
Model 500,
The Mojo Men,
Kas Product,
Technova,
DJ Sneak,
It's A Beautiful Day,
Glenn Branca,
Soul II Soul,
Sex Pistols,
Carl Craig,
Gang Starr,
John Foxx,
Johnny Osbourne,
Jawbox,
Alice Coltrane,
the Association,
Stetsasonic,
Sexual Harrassment,
the Soft Cell,
Arcadia,
Jesper Dahlback,
Black Pus,
8 Eyed Spy,
Al Stewart,
Rufus Thomas,
Max Romeo,
Section 25,
James Chance & The Contortions,
The Chocolate Watch Band,
Tommy Roe,
Amon Düül II,
Quantec,
Gil Scott-Heron & Brian Jackson,
Junior Murvin,
Lyres,
DJ Style,
The Offenders,
Roxette,
Adolescents,
The Monks,
Interpol,
Boogie Down Productions,
EPMD,
Youth Brigade,
Suicide,
Pole,
The Leaves,
The Golliwogs,
Grauzone,
Maurizio,
Darondo,
Thinking Fellers Union Local 282,
Dawn Penn,
Tears for Fears,
John Coltrane, John Coltrane, John Coltrane, John Coltrane.
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.