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 Suriname and from Taipei.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Lille and Toronto.
I'm losing my edge to the art-school Winnipeg 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 Chic practice in a loft in New York.
I was working on the 808 sounds with much patience.
I was there when Nile Rodgers 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 Patti Smith to the funk kids.
I played it at the Astoria.
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 Brass Construction. All the underground hits.
All The Move tracks. I heard you have a vinyl of every the Slits 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 snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Glenn Branca record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy's Rubber Band,
Howard Jones,
Circle Jerks,
Man Parrish,
Siglo XX,
CMW,
The Cramps,
New Order,
New York Dolls,
Gastr Del Sol,
Rotary Connection,
Ituana,
Minnie Riperton,
Barbara Tucker,
Chris Corsano,
Peter & Gordon,
Rakim,
The Alarm Clocks,
Liaisons Dangereuses,
Banda Bassotti,
The Real Kids,
The Dave Clark Five,
Jesper Dahlback,
Deadbeat,
Shoche,
The Slits,
Pantaleimon,
Altered Images,
Schoolly D,
U.S. Maple,
Unrelated Segments,
Roxy Music,
Mr. Review,
Motorama,
Gian Franco Pienzio,
The Grass Roots,
Brothers Johnson,
Essential Logic,
Amon Düül II,
Groovy Waters,
KRS-One,
Cabaret Voltaire,
Roger Hodgson,
The Cosmic Jokers,
Letta Mbulu,
Idris Muhammad,
K-Klass,
Terry Callier,
The Slackers,
Kaleidoscope,
Unwound,
The Cowsills,
Boz Scaggs,
Sun Ra Arkestra,
Joyce Sims,
The Skatalites,
Ajijia Myrayebe,
Black Sheep,
Stetsasonic,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.