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 Brazil and from Jakarta.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1962 to 1971.
I'm losing my edge.
To all the kids in London and Stockholm.
I'm losing my edge to the art-school Shanghai 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 synthesizer sounds with much patience.
I was there when Robert Palmer 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 Fatback Band to the dance kids.
I played it at Trash.
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 Selecter. All the underground hits.
All Rhythm & Sound tracks. I heard you have a vinyl of every The Wake record on German import.
I heard that you have a white label of every seminal funk 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 theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare's Slasher Flicks record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barbara Tucker,
Model 500,
Idris Muhammad,
Reuben Wilson,
Infiniti,
Liliput,
Whodini,
Saccharine Trust,
KRS-One,
Bush Tetras,
Lizzy Mercier Descloux,
Brothers Johnson,
Rod Modell,
Black Sheep,
The Techniques,
Bad Manners,
Byron Stingily,
The Star Department,
Pharoah Sanders,
Sly & The Family Stone,
Joey Negro,
Art Ensemble Of Chicago,
The Alarm Clocks,
Soft Machine,
Pulsallama,
Nirvana,
Bobby Hutcherson,
Eric B and Rakim,
Rhythm & Sound,
Erykah Badu,
The Seeds,
Jimmy McGriff,
Beasts of Bourbon,
Robert Wyatt,
Aswad,
Marshall Jefferson,
Junior Murvin,
The Cowsills,
Unrelated Segments,
Dave Gahan,
Anthony Braxton,
OOIOO,
Red Lorry Yellow Lorry,
The Zeros,
The Barracudas,
Technova,
the Soft Cell,
Monks,
Swell Maps,
Harry Pussy,
Vainqueur,
Siglo XX,
the Sonics,
R.M.O.,
The Stooges,
Wighnomy Brothers & Robag Wruhme,
Sun Ra,
The Index,
Eurythmics,
Q65,
Delta 5, Delta 5, Delta 5, Delta 5.
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.