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 Gabon and from Mumbai.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Taipei and Taipei.
I'm losing my edge to the art-school Portland 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the oboe sounds with much patience.
I was there when Robert Palmer 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 Fat Boys to the funk 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 Barry Ungar. All the underground hits.
All Clear Light tracks. I heard you have a vinyl of every The Skatalites 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 '60s cut and another box set from the '80s.
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 Rhythim Is Rhythim record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rod Modell,
Japan,
The Men They Couldn't Hang,
World's Most,
the Sonics,
Q and Not U,
Pagans,
Letta Mbulu,
The Zeros,
Main Source,
Johnny Osbourne,
Scratch Acid,
10cc,
Bizarre Inc.,
Das Ding,
Neil Young,
Kool G Rap & DJ Polo,
Eric Dolphy,
Grey Daturas,
Nation of Ulysses,
Qualms,
London Community Gospel Choir,
Drexciya,
Susan Cadogan,
The Knickerbockers,
Art Ensemble Of Chicago,
Lightning Bolt,
Albert Ayler,
PIL,
Average White Band,
Deutsch Amerikanische Freundschaft,
Quantec,
Scion,
Aural Exciters,
Ronnie Foster,
Half Japanese,
Alice Coltrane,
Excepter,
Amon Düül,
FM Einheit,
Girls At Our Best!,
John Holt,
Michelle Simonal,
Grandmaster Flash and the Furious Five,
Skarface,
The Misunderstood,
Funkadelic,
The Busters,
Grandmaster Flash,
Unrelated Segments,
Rakim,
L. Decosne,
Gang Starr,
The Mummies,
X-101,
Crooked Eye,
De La Soul & Jungle Brothers,
Janne Schatter,
Major Organ And The Adding Machine,
Boz Scaggs,
Camouflage,
Avey Tare,
New Order,
Accadde A, Accadde A, Accadde A, Accadde A.
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.