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 Bremen.
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 1975.
I'm losing my edge.
To all the kids in Taipei and Hong Kong.
I'm losing my edge to the art-school Seoul 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 1973 at the first Television practice in a loft in New York.
I was working on the sitar 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 The Victims to the punk kids.
I played it at the Roxy.
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 Kinks. All the underground hits.
All Eric B and Rakim tracks. I heard you have a vinyl of every Average White Band record on German import.
I heard that you have a white label of every seminal dance 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 marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Notorious BIG live in Amsterdam record.
I hear that you and your band have sold your 808 and bought a guitar.
I hear that you and your band have sold your guitar and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David McCallum,
Maleditus Sound,
The Mummies,
Lower 48,
MC5,
The Music Machine,
Terry Callier,
Donny Hathaway,
Hardrive,
Deadbeat,
Jacques Brel,
Super Lover Cee & Casanova Rud,
Icehouse,
Saccharine Trust,
Hasil Adkins,
Black Sheep,
Dawn Penn,
JFA,
Rahsaan Roland Kirk,
B.T. Express,
Nils Olav,
Jesper Dahlbäck,
PIL,
Nico,
ABBA,
H. Thieme,
Ten City,
the Bar-Kays,
Johnny Clarke,
Amon Düül II,
The Dirtbombs,
The Peanut Butter Conspiracy,
The Cowsills,
Larry & the Blue Notes,
the Fania All-Stars,
The Raincoats,
Johnny Osbourne,
Mandrill,
Laurel Aitken,
Boogie Down Productions,
Eric B and Rakim,
48th St. Collective,
Lungfish,
the Slits,
CMW,
Curtis Mayfield,
Whodini,
Darondo,
Sun Ra,
Pole,
Nation of Ulysses,
Joensuu 1685,
Roy Ayers Ubiquity,
Barry Ungar,
Sonny Sharrock,
David Axelrod,
kango's stein massive,
Althea and Donna,
Alison Limerick,
Pere Ubu,
Lou Reed,
Minutemen,
The Fortunes, The Fortunes, The Fortunes, The Fortunes.
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.