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 Dominican Republic and from Salvador.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1970.
I'm losing my edge.
To all the kids in Milan and Philadelphia.
I'm losing my edge to the art-school Paris 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 spring reverb sounds with much patience.
I was there when Donald Fagen 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 Urselle to the disco kids.
I played it at Trash.
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 Camouflage. All the underground hits.
All The Martian tracks. I heard you have a vinyl of every Joe Finger 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 '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Big Daddy Kane record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sex Pistols,
Hardrive,
The Monochrome Set,
Sonic Youth,
Sad Lovers and Giants,
James Chance & The Contortions,
Negative Approach,
Depeche Mode,
Derrick Morgan,
Althea and Donna,
Hot Snakes,
Easy Going,
Fear,
Warsaw,
Jerry's Kids,
the Fania All-Stars,
The Peanut Butter Conspiracy,
Ronan,
48th St. Collective,
Don Cherry,
Funkadelic,
Deadbeat,
Smog,
Crispian St. Peters,
Michelle Simonal,
Lonnie Liston Smith,
Nirvana,
A Flock of Seagulls,
Albert Ayler,
The Pretty Things,
the Sonics,
Liaisons Dangereuses,
The Standells,
It's A Beautiful Day,
Bill Wells,
Scrapy,
Nico,
Glenn Branca,
Jawbox,
Kaleidoscope,
The Residents,
Jerry Gold Smith,
Qualms,
Kool G Rap & DJ Polo,
Sight & Sound,
Average White Band,
Agent Orange,
The Red Krayola,
Television Personalities,
Massinfluence,
Black Flag,
Nas,
The Selecter,
Pierre Henry,
The Cowsills,
Spoonie Gee,
The Fire Engines,
The Moleskins,
Terrestrial Tones,
Whodini,
Eli Mardock,
Yusef Lateef,
Mo-Dettes, Mo-Dettes, Mo-Dettes, Mo-Dettes.
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.