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 Colombia and from Lyon.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Lyon.
I'm losing my edge to the art-school Stockholm 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the rhodes 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 Lee Hazlewood to the punk kids.
I played it at the 40 Watt.
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 Eric Dolphy. All the underground hits.
All Young Marble Giants tracks. I heard you have a vinyl of every Royal Trux record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Spoonie Gee,
Cymande,
Newcleus,
Brand Nubian,
Camberwell Now,
Fifty Foot Hose,
The Leaves,
Barbara Tucker,
Jerry Gold Smith,
Soft Machine,
The Beau Brummels,
Alice Coltrane,
Pulsallama,
Khruangbin,
The Fugs,
The Standells,
Boz Scaggs,
Cybotron,
AZ,
Sunsets and Hearts,
Goldenarms,
Fear,
Mars,
The Sound,
the Swans,
Scott Walker,
Easy Going,
Patti Smith,
Rhythm & Sound,
La Düsseldorf,
Crispy Ambulance,
The Residents,
Basic Channel,
Public Enemy,
Sällskapet,
The Barracudas,
Camron Feat. Memphis Bleek And Beenie Seigel,
Jesper Dahlbäck,
Fatback Band,
Lindisfarne,
8 Eyed Spy,
Charles Mingus,
PIL,
Can,
Jeru the Damaja,
The Moody Blues,
Jerry's Kids,
Yellowson,
Derrick Morgan,
Kango’s Stein Massive,
Matthew Bourne,
Tim Buckley,
Josef K,
Bang On A Can,
Marshall Jefferson,
Au Pairs,
Oppenheimer Analysis,
Little Man,
Drive Like Jehu,
The Men They Couldn't Hang,
Qualms, Qualms, Qualms, Qualms.
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.