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 Jordan and from Tehran.
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 1976.
I'm losing my edge.
To all the kids in New York and Paris.
I'm losing my edge to the art-school Taipei 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the spring reverb sounds with much patience.
I was there when Lou Reed 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 Tears for Fears to the jazz kids.
I played it at Cafe Wha.
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 Slave. All the underground hits.
All Notorious BIG live in Amsterdam tracks. I heard you have a vinyl of every Donald Byrd record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mr. Review,
Eric Dolphy,
Pete Rock & C.L. Smooth,
Malaria!,
Second Layer,
Kerrie Biddell,
Model 500,
Susan Cadogan,
Brand Nubian,
Joey Negro,
The Martian,
Buzzcocks,
Urselle,
The Blackbyrds,
Prince Buster,
AZ,
Kauko Röyhkä ja Narttu,
Jeru the Damaja,
Main Source,
The Durutti Column,
Pussy Galore,
Sonic Youth,
Joyce Sims,
Derrick May,
Teenage Jesus and the Jerks,
Spoonie Gee,
Suburban Knight,
Albert Ayler,
Avey Tare & Kría Brekkan,
Bauhaus,
Soft Machine,
Peter Gordon & Love of Life Orchestra,
Section 25,
Letta Mbulu,
Lalo Schifrin,
Essential Logic,
Delon & Dalcan,
Agent Orange,
Robert Görl,
Ronan,
Los Fastidios,
Tom Boy,
Newcleus,
The Standells,
Brick,
The Smiths,
The New Christs,
Gastr Del Sol,
Eden Ahbez,
Andrew Hill,
Echospace,
The Mojo Men,
The Motions,
Carl Craig,
La Düsseldorf,
Danielle Patucci,
Harmonia,
Sparks,
The Count Five,
Unwound,
Little Man,
Glambeats Corp., Glambeats Corp., Glambeats Corp., Glambeats Corp..
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.