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 Russia and from Beijing.
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 1974.
I'm losing my edge.
To all the kids in Salvador and Manchester.
I'm losing my edge to the art-school Seoul 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 D'Angelo to the funk kids.
I played it at the Troubador.
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 Human League. All the underground hits.
All The Velvet Underground tracks. I heard you have a vinyl of every 48th St. Collective record on German import.
I heard that you have a white label of every seminal punk 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 a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
New York Dolls,
Sex Pistols,
Nas,
Barry Ungar,
Marshall Jefferson,
Lebanon Hanover,
The Sound,
Marmalade,
Porter Ricks,
Mad Mike,
The Gladiators,
Alison Limerick,
Juan Atkins,
Wighnomy Brothers & Robag Wruhme,
Joe Smooth,
B.T. Express,
Röyhkä ja Rättö ja Lehtisalo,
Moby Grape,
The Remains,
Orchestral Manoeuvres in the Dark,
Soft Cell,
Rahsaan Roland Kirk,
Vladislav Delay,
Avey Tare,
AZ,
Oppenheimer Analysis,
Von Mondo,
Deutsch Amerikanische Freundschaft,
Reagan Youth,
Jimmy McGriff,
Marvin Gaye,
Arab on Radar,
Aloha Tigers,
Circle Jerks,
The Moleskins,
48th St. Collective,
Deadbeat,
Funky Four + One,
Sun Ra,
Lee Hazlewood,
The Chocolate Watch Band,
Index,
Youth Brigade,
Visionaries,LMNO, T- Love & Iriscience,
The Cramps,
Brass Construction,
a-ha,
Amon Düül II,
Mr. Review,
Freddie Wadling,
The Knickerbockers,
Chrome,
Con Funk Shun,
Sonic Youth,
Moebius,
Sunsets and Hearts,
Groovy Waters,
The Misunderstood,
Althea and Donna,
The Jesus and Mary Chain,
Wire, Wire, Wire, Wire.
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.