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 South Sudan and from Manchester.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1973.
I'm losing my edge.
To all the kids in Salvador and Johannesburg.
I'm losing my edge to the art-school Lagos 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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the chamberlin 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 The Index to the disco kids.
I played it at the Hacienda.
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 Amazonics. All the underground hits.
All David Bowie tracks. I heard you have a vinyl of every Junior Murvin record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slick Rick,
Lou Reed & John Cale,
Khruangbin,
EPMD,
Gabor Szabo,
Aloha Tigers,
Quadrant,
The Residents,
The Fall,
Minny Pops,
Cybotron,
Infiniti,
Pagans,
Deepchord,
Althea and Donna,
The Dave Clark Five,
The Happenings,
The Trojans,
Ash Ra Tempel,
Drexciya,
48th St. Collective,
Kerri Chandler,
Q65,
The Moody Blues,
Rod Modell,
Groovy Waters,
Teenage Jesus and the Jerks,
Peter and Kerry,
Larry & the Blue Notes,
Swell Maps,
The J.B.'s,
Anakelly,
The Busters,
Danielle Patucci,
Davy DMX,
Qualms,
Lou Reed,
Lee Hazlewood,
Gang Gang Dance,
Hardrive,
The Associates,
Eric Dolphy,
Make Up,
Bad Manners,
The Zeros,
Zero Boys,
Peter & Gordon,
Kenny Larkin,
Dorothy Ashby,
Man Eating Sloth,
L. Decosne,
Marcia Griffiths,
Jawbox,
Lalo Schifrin,
The Tremeloes,
One Last Wish,
Alice Coltrane,
Heavy D & The Boyz,
Stockholm Monsters,
Prince Buster,
Radiohead,
Eric Copeland,
Liliput,
Faraquet, Faraquet, Faraquet, Faraquet.
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.