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 Haiti and from Hong Kong.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Calgary and Cairo.
I'm losing my edge to the art-school Woodstock 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the harpsichord 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 Khruangbin to the rock kids.
I played it at the Astoria.
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 The Neon Judgement. All the underground hits.
All The Offenders tracks. I heard you have a vinyl of every Strawberry Alarm Clock record on German import.
I heard that you have a white label of every seminal rock 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 oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sad Lovers and Giants record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Loose Ends,
Avey Tare,
Spandau Ballet,
Louis and Bebe Barron,
Thompson Twins,
Dennis Brown,
Masters at Work,
Accadde A,
Boogie Down Productions,
Flamin' Groovies,
Bootsy's Rubber Band,
Kas Product,
Procol Harum,
the Swans,
the Human League,
Sparks,
Marcia Griffiths,
John Lydon,
Sight & Sound,
Wire,
Donald Byrd,
Amazonics,
Tom Boy,
Faraquet,
Warren Ellis,
EPMD,
Eyeless In Gaza,
Rapeman,
Stiv Bators,
The Zeros,
Depeche Mode,
Lebanon Hanover,
Ultramagnetic MC's,
Wings,
The Star Department,
Judy Mowatt,
Section 25,
Television,
Scion,
a-ha,
Archie Shepp,
X-101,
Crooked Eye,
Leonard Cohen,
Kerrie Biddell,
Aloha Tigers,
La Düsseldorf,
Sex Pistols,
Darondo,
The Leaves,
June of 44,
World's Most,
Kings Of Tomorrow,
Brass Construction,
The Durutti Column,
Siglo XX,
Rhythm & Sound,
Rakim, Rakim, Rakim, Rakim.
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.