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 Cape Verde and from Seoul.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Johannesburg and Manchester.
I'm losing my edge to the art-school Salvador 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 The Mighty Diamonds to the electroclash kids.
I played it at the 40 Watt.
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 Main Source. All the underground hits.
All The Velvet Underground tracks. I heard you have a vinyl of every Nico record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Ten City record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Searchers,
The Zeros,
The Last Poets,
Peter Gordon & Love of Life Orchestra,
Second Layer,
Big Daddy Kane,
Harry Pussy,
Au Pairs,
Marmalade,
MDC,
the Fania All-Stars,
Piero Umiliani,
Funky Four + One,
Dead Boys,
Johnny Osbourne,
Crispy Ambulance,
The Neon Judgement,
Barbara Tucker,
Jawbox,
Rod Modell,
World's Most,
Gong,
Popol Vuh,
Avey Tare's Slasher Flicks,
Black Sheep,
Fluxion,
Gil Scott Heron,
A Certain Ratio,
Little Man,
Main Source,
Cameo,
Panda Bear,
Radio Birdman,
Public Image Ltd.,
Bobby Sherman,
Minor Threat,
Andrew Hill,
The Pop Group,
a-ha,
Electric Light Orchestra,
Richard Hell and the Voidoids,
Black Flag,
Ronan,
Wolf Eyes,
Leonard Cohen,
The Mojo Men,
Juan Atkins,
Ajijia Myrayebe,
Mandrill,
Bang On A Can,
Lindisfarne,
Khruangbin,
8 Eyed Spy,
Quadrant,
Skarface,
Kayak,
Circle Jerks,
The Invisible,
Vainqueur,
Idris Muhammad,
Roy Ayers Ubiquity,
Michelle Simonal, Michelle Simonal, Michelle Simonal, Michelle Simonal.
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.