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 Rwanda and from Copenhagen.
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 1978.
I'm losing my edge.
To all the kids in Taipei and Mexico City.
I'm losing my edge to the art-school Edmonton 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the sitar sounds with much patience.
I was there when Lou Reed 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 The Busters to the electroclash kids.
I played it at the Roxy.
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 Jerry Gold Smith. All the underground hits.
All Unrelated Segments tracks. I heard you have a vinyl of every Groovy Waters record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Toni Rubio,
Aural Exciters,
the Association,
Girls At Our Best!,
The Leaves,
Hot Snakes,
The Slits,
Desert Stars,
Monolake,
The Vogues,
Mark Hollis,
Sarah Menescal,
Ronnie Foster,
Hasil Adkins,
AZ,
Technova,
Frankie Knuckles,
Roy Ayers Ubiquity,
The Victims,
Neil Young & Crazy Horse,
Flamin' Groovies,
Peter Gordon & Love of Life Orchestra,
Fear,
Arab on Radar,
Röyhkä ja Rättö ja Lehtisalo,
The Invisible,
Avey Tare & Kría Brekkan,
Dual Sessions,
Kool Moe Dee,
Sun Ra Arkestra,
Brick,
Scratch Acid,
Electric Light Orchestra,
The Buckinghams,
Bobby Womack,
Big Daddy Kane,
Massinfluence,
The Real Kids,
The Smiths,
Depeche Mode,
Black Pus,
Red Lorry Yellow Lorry,
Bobby Hutcherson,
Whodini,
Matthew Halsall,
Soulsonic Force,
X-101,
Organ,
Wire,
The Five Americans,
Sight & Sound,
Maleditus Sound,
The Angels of Light,
Yusef Lateef,
Magma,
Terrestrial Tones,
Boz Scaggs,
Eyeless In Gaza,
Gabor Szabo,
Soul Sonic Force,
Saccharine Trust,
Hashim,
Boredoms,
Kango’s Stein Massive,
The Monks, The Monks, The Monks, The Monks.
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.