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 the UAE and from Accra.
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 1979.
I'm losing my edge.
To all the kids in Toronto and Glasgow.
I'm losing my edge to the art-school New York 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 guitar 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 Pylon 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's Kids. All the underground hits.
All Eden Ahbez tracks. I heard you have a vinyl of every Brothers Johnson record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s 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 Alice Coltrane record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
8 Eyed Spy,
James White and The Blacks,
Maurizio,
Al Stewart,
Rufus Thomas,
Judy Mowatt,
Bauhaus,
Thee Headcoats,
Monolake,
Mark Hollis,
Wings,
Icehouse,
Bizarre Inc.,
Grauzone,
Bobby Sherman,
The Blues Magoos,
Young Marble Giants,
The Music Machine,
48th St. Collective,
Crash Course in Science,
Lou Reed & Metallica,
The Offenders,
The Knickerbockers,
Ice-T,
Max Romeo,
The Fortunes,
Lower 48,
Cal Tjader,
Roxy Music,
The Beau Brummels,
The Saints,
Terry Callier,
Morten Harket,
Ponytail,
The Blackbyrds,
Lalo Schifrin,
Jawbox,
A Flock of Seagulls,
Symarip,
De La Soul & Jungle Brothers,
The Durutti Column,
Soft Machine,
Blancmange,
Anthony Braxton,
Suicide,
Yazoo,
Rites of Spring,
Scratch Acid,
Visage,
Delta 5,
Lizzy Mercier Descloux,
Black Sheep,
Nico,
Slick Rick,
Wally Richardson,
Camberwell Now,
Oblivians,
Smog,
Andrew Hill, Andrew Hill, Andrew Hill, Andrew Hill.
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.