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 New Zealand and from Accra.
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 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Delhi.
I'm losing my edge to the art-school Spokane 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the spring reverb sounds with much patience.
I was there when Lou Reed 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 Lungfish to the rock kids.
I played it at Cafe Wha.
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 Lindisfarne. All the underground hits.
All Surgeon tracks. I heard you have a vinyl of every Drexciya 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 '50s cut and another box set from the '90s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Parry Music record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
Ludus,
Yellowson,
Interpol,
Moby Grape,
Tom Boy,
John Foxx,
Bill Wells,
DNA,
Pulsallama,
Panda Bear,
Freddie Wadling,
Motorama,
Grandmaster Flash,
The Cosmic Jokers,
Duran Duran,
Kings Of Tomorrow,
Barbara Tucker,
Faraquet,
the Normal,
Trumans Water,
David Axelrod,
Subhumans,
Ajijia Myrayebe,
the Soft Cell,
Tears for Fears,
Monks,
Rod Modell,
B.T. Express,
The Dead C,
The Moleskins,
Fluxion,
The Monochrome Set,
The Standells,
Brick,
Marc Almond,
X-102,
Gian Franco Pienzio,
Masters at Work,
The Last Poets,
Soulsonic Force,
Television,
Con Funk Shun,
Agent Orange,
Jimmy McGriff,
Unrelated Segments,
June of 44,
Rhythm & Sound,
This Heat,
The Index,
Audionom,
Boz Scaggs,
Graham Central Station,
Pole,
The Black Dice,
Kauko Röyhkä ja Narttu,
Lindisfarne,
A Certain Ratio,
Zero Boys,
Bizarre Inc.,
Pantaleimon,
Barrington Levy,
Albert Ayler, Albert Ayler, Albert Ayler, Albert Ayler.
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.