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 Sudan 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 1966 to 1975.
I'm losing my edge.
To all the kids in Stockholm and Spokane.
I'm losing my edge to the art-school Beijing 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 oboe sounds with much patience.
I was there when Tom Verlaine 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 Ice-T to the punk kids.
I played it at the Crocodile.
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 LL Cool J. All the underground hits.
All The Royal Family And The Poor tracks. I heard you have a vinyl of every Icehouse 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 '60s cut and another box set from the '90s.
I hear you're buying a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Marine Girls record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
a-ha,
Minor Threat,
Amon Düül II,
Section 25,
Reuben Wilson,
Yusef Lateef,
Patti Smith,
Yellowson,
Selector Dub Narcotic,
Das Ding,
Sugar Minott,
OOIOO,
Joensuu 1685,
The Music Machine,
Kool G Rap & DJ Polo,
The Durutti Column,
AZ,
Orchestral Manoeuvres in the Dark,
Magazine,
The Pop Group,
Rekid,
Spoonie Gee,
Whodini,
The Barracudas,
Roy Ayers Ubiquity,
The Saints,
Motorama,
The Blackbyrds,
Warren Ellis,
Bronski Beat,
Jerry Gold Smith,
Siglo XX,
Electric Prunes,
Althea and Donna,
Eric Copeland,
Pantaleimon,
Pharoah Sanders,
Minny Pops,
Black Bananas,
Slave,
Royal Trux,
Maleditus Sound,
Gregory Isaacs,
Ponytail,
Sarah Menescal,
Roxy Music,
Barclay James Harvest,
Mad Mike,
Aswad,
Camron Feat. Memphis Bleek And Beenie Seigel,
Eve St. Jones,
The Last Poets,
Sandy B,
Johnny Clarke,
The United States of America,
Little Man,
Chris & Cosey,
Neu!,
This Heat,
Scratch Acid,
UT,
Marcia Griffiths,
Masters at Work,
Ohio Players, Ohio Players, Ohio Players, Ohio Players.
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.