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 Ethiopia and from Shanghai.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Lyon and Edmonton.
I'm losing my edge to the art-school Columbus 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the rhodes 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 Alison Limerick to the funk 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 Los Fastidios. All the underground hits.
All Rahsaan Roland Kirk tracks. I heard you have a vinyl of every Liliput 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 '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar 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 Sonics,
Toni Rubio,
Aural Exciters,
Outsiders,
Flipper,
Henry Cow,
Kevin Saunderson,
Whodini,
Eddi Front,
Scion,
Dual Sessions,
Funky Four + One,
The Gladiators,
Chris & Cosey,
Subhumans,
Gong,
Mission of Burma,
Brass Construction,
Letta Mbulu,
Index,
Jesper Dahlback,
Nik Kershaw,
World's Most,
Rahsaan Roland Kirk,
Sexual Harrassment,
Sixth Finger,
Gastr Del Sol,
AZ,
June of 44,
Au Pairs,
Joyce Sims,
Curtis Mayfield,
The Flesh Eaters,
Ken Boothe,
Moss Icon,
Neil Young,
Intrusion,
Lungfish,
Soul Sonic Force,
Bobby Womack,
Bootsy Collins,
Hasil Adkins,
Black Flag,
Heaven 17,
Jerry Gold Smith,
The Fire Engines,
Mr. Review,
Audionom,
Lyres,
June Days,
Schoolly D,
Pantaleimon,
Gregory Isaacs,
Ultravox,
Erasure,
Marshall Jefferson,
the Swans,
Delta 5,
Ultramagnetic MC's,
Sound Behaviour,
Main Source,
Flamin' Groovies,
Derrick Morgan, Derrick Morgan, Derrick Morgan, Derrick Morgan.
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.