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 Belarus and from Delhi.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Toronto and Philadelphia.
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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the synthesizer 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 MC5 to the dance 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 The Jesus and Mary Chain. All the underground hits.
All Pole tracks. I heard you have a vinyl of every Mark Hollis 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 harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Brand Nubian record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Misunderstood,
The J.B.'s,
Kango’s Stein Massive,
Todd Terry,
Captain Beefheart & His Magic Band,
Oneida,
Angry Samoans,
Monolake,
Joe Smooth,
Patti Smith,
Faust,
The Birthday Party,
Todd Rundgren,
Bobby Byrd,
KRS-One,
Drive Like Jehu,
Ronan,
Roxette,
Rod Modell,
The Grass Roots,
John Foxx,
Basic Channel,
Avey Tare,
The Electric Prunes,
Pantytec,
Anthony Braxton,
Pharoah Sanders,
Jerry Gold Smith,
Sex Pistols,
Soft Cell,
Marcia Griffiths,
Marvin Gaye,
Toni Rubio,
Henry Cow,
Lyres,
Hashim,
John Coltrane,
Wings,
Nik Kershaw,
Larry & the Blue Notes,
The Fire Engines,
The Buckinghams,
Rakim,
Joey Negro,
Funky Four + One,
Morten Harket,
Stiv Bators,
The Residents,
The Sound,
Supertramp,
Grey Daturas,
Pet Shop Boys,
Bizarre Inc.,
The Cramps,
Piero Umiliani,
Unrelated Segments,
Big Daddy Kane,
John Holt,
Maleditus Sound,
Fort Wilson Riot,
Sugar Minott,
The Techniques, The Techniques, The Techniques, The Techniques.
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.