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 Ivory Coast and from Tokyo.
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 1972.
I'm losing my edge.
To all the kids in Spokane and Lagos.
I'm losing my edge to the art-school Edmonton 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the snare sounds with much patience.
I was there when Captain Beefheart 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 Bobby Hutcherson to the funk kids.
I played it at the Crocodile.
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 Accadde A. All the underground hits.
All Procol Harum tracks. I heard you have a vinyl of every Scientists 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 '60s cut and another box set from the '70s.
I hear you're buying a marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Joyce Sims record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Depeche Mode,
Deepchord,
The Smiths,
Negative Approach,
Kool G Rap & DJ Polo,
Newcleus,
The Standells,
Subhumans,
Stereo Dub,
Second Layer,
Roxy Music,
Public Enemy,
The Fugs,
the Bar-Kays,
Gong,
The Divine Comedy,
John Cale,
Glambeats Corp.,
Brick,
Lee Hazlewood,
Dorothy Ashby,
Boogie Down Productions,
Pete Rock & C.L. Smooth,
Jeff Lynne,
Neil Young & Crazy Horse,
The Red Krayola,
Man Eating Sloth,
UT,
Fifty Foot Hose,
Blancmange,
DJ Style,
Nation of Ulysses,
Sam Rivers,
R.M.O.,
The Count Five,
Deadbeat,
Make Up,
Soft Machine,
Stockholm Monsters,
Drive Like Jehu,
Drexciya,
Big Daddy Kane,
EPMD,
John Holt,
Wally Richardson,
London Community Gospel Choir,
F. McDonald,
The Music Machine,
Steve Hackett,
Q and Not U,
The Five Americans,
Tears for Fears,
Hasil Adkins,
The Dirtbombs,
Teenage Jesus and the Jerks,
Fear,
The Stooges,
Aswad,
The Raincoats,
Pierre Henry,
Marc Romboy vs. Booka Shade,
Bauhaus, Bauhaus, Bauhaus, Bauhaus.
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.