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 Benin and from Sao Paulo.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Philadelphia and Columbus.
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 oboe 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 Sonics to the rock kids.
I played it at the Spitz.
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 Moss Icon. All the underground hits.
All Siouxsie and the Banshees tracks. I heard you have a vinyl of every The Invisible record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Leaves,
Kenny Larkin,
Quantec,
Althea and Donna,
Popol Vuh,
Scientists,
Donald Byrd,
Liaisons Dangereuses,
Connie Case,
Magma,
The Five Americans,
Lou Reed,
Echo & the Bunnymen,
The Blues Magoos,
Boredoms,
These Immortal Souls,
The Gap Band,
Massinfluence,
The Alarm Clocks,
The Move,
Avey Tare's Slasher Flicks,
Jawbox,
Sun City Girls,
Bootsy Collins,
Derrick May,
The Monochrome Set,
Rhythm & Sound,
Ultravox,
Deakin,
Wings,
The Kinks,
Amon Düül,
D'Angelo,
Sandy B,
Dawn Penn,
Can,
Maleditus Sound,
Dorothy Ashby,
The Martian,
H. Thieme,
Jeru the Damaja,
Grandmaster Flash,
Flash Fearless,
Yazoo,
The Stooges,
Buzzcocks,
The Neon Judgement,
Tommy Roe,
Rhythim Is Rhythim,
The Smoke,
Ultra Naté,
The Sisters of Mercy,
Ten City,
Charles Mingus,
Joensuu 1685,
Joe Smooth,
The Doors,
FM Einheit,
Japan,
Boogie Down Productions,
Boz Scaggs,
James White and The Blacks,
Surgeon,
Wighnomy Brothers & Robag Wruhme,
Minnie Riperton, Minnie Riperton, Minnie Riperton, Minnie Riperton.
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.