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 Guinea-Bissau and from Houston.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Calgary and Beijing.
I'm losing my edge to the art-school Sao Paulo 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the chamberlin 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 Vladislav Delay to the disco 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 The Star Department. All the underground hits.
All Piero Umiliani tracks. I heard you have a vinyl of every Notorious Big And Bone Thugs 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 chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your organ and bought a sitar.
I hear that you and your band have sold your sitar and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New York Dolls,
Glenn Branca,
Chris Corsano,
Al Stewart,
Kings Of Tomorrow,
The Residents,
The Star Department,
Fifty Foot Hose,
The Slits,
Tim Buckley,
Traffic Nightmare,
Barbara Tucker,
Boogie Down Productions,
the Normal,
the Bar-Kays,
Half Japanese,
The Victims,
Kango’s Stein Massive,
Alice Coltrane,
EPMD,
DeepChord presents Echospace,
Public Image Ltd.,
Frankie Knuckles,
Fluxion,
Scott Walker + Sunn O))),
LL Cool J,
Harry Pussy,
Gary Puckett & The Union Gap,
Ohio Players,
E-Dancer,
Desert Stars,
Whodini,
Yellowson,
Rapeman,
Scion,
the Human League,
Electric Light Orchestra,
Big Daddy Kane,
Skarface,
Ituana,
Hot Snakes,
Susan Cadogan,
A Flock of Seagulls,
Can,
Peter and Kerry,
Junior Murvin,
The Vogues,
Excepter,
Marcia Griffiths,
Rowland S Howard / Lydia Lunch,
Eyeless In Gaza,
Yusef Lateef,
Gian Franco Pienzio,
The Fugs,
The Dead C,
The Seeds,
Porter Ricks,
Rufus Thomas,
Amazonics,
Lucky Dragons,
Laurel Aitken,
Nils Olav,
Franke, Franke, Franke, Franke.
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.