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 El Salvador and from Sao Paulo.
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 1978.
I'm losing my edge.
To all the kids in Madrid and Jakarta.
I'm losing my edge to the art-school Lyon 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 clarinet 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 Don Cherry to the dance kids.
I played it at the Roxy.
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 Aaron Thompson. All the underground hits.
All Grey Daturas tracks. I heard you have a vinyl of every The Tremeloes record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Kerrie Biddell record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hasil Adkins,
Gil Scott-Heron & Brian Jackson,
The Smoke,
DeepChord presents Echospace,
Interpol,
Guru Guru,
Justin Hinds & The Dominoes,
The Gap Band,
Louis and Bebe Barron,
DNA,
Kings Of Tomorrow,
Rekid,
Pylon,
Rites of Spring,
Captain Beefheart & His Magic Band,
Gil Scott-Heron and Jamie xx,
Don Cherry,
The Star Department,
Big Daddy Kane,
Eric B and Rakim,
Ralphi Rosario,
Silicon Teens,
The Misunderstood,
Arab on Radar,
A Flock of Seagulls,
Main Source,
The New Christs,
OOIOO,
June Days,
Ajijia Myrayebe,
Tropical Tobacco,
F. McDonald,
Harry Pussy,
Kayak,
In Retrospect,
The Alarm Clocks,
Quadrant,
The Durutti Column,
Peter and Kerry,
Altered Images,
Susan Cadogan,
Underground Resistance,
Absolute Body Control,
Neil Young,
The Slits,
Heaven 17,
Mars,
Man Parrish,
Easy Going,
Deepchord,
Robert Hood,
Gichy Dan,
kango's stein massive,
KRS-One,
Mr. Review,
Donny Hathaway,
Dead Boys,
Teenage Jesus and the Jerks,
Peter & Gordon,
Kas Product,
ABBA, ABBA, ABBA, ABBA.
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.