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 Tunisia and from Copenhagen.
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 1970.
I'm losing my edge.
To all the kids in Hong Kong and Bremen.
I'm losing my edge to the art-school Shanghai 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the sitar sounds with much patience.
I was there when Captain Beefheart 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 Agitation Free to the rap 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 Rod Modell. All the underground hits.
All Cybotron tracks. I heard you have a vinyl of every Dual Sessions 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 '80s cut and another box set from the '70s.
I hear you're buying a rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Aloha Tigers record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crooked Eye,
The Move,
Neil Young,
Larry & the Blue Notes,
John Coltrane,
MC5,
The Slackers,
Andrew Hill,
Funkadelic,
Vaughan Mason & Crew,
UT,
It's A Beautiful Day,
Pantaleimon,
June of 44,
The Fire Engines,
Jeru the Damaja,
Gil Scott-Heron and Jamie xx,
Massinfluence,
The Young Rascals,
The Victims,
AZ,
Rod Modell,
Terrestrial Tones,
Brand Nubian,
Siouxsie and the Banshees,
Young Marble Giants,
The Men They Couldn't Hang,
The American Breed,
The Standells,
Gabor Szabo,
Cal Tjader,
Black Sheep,
The Zeros,
Selector Dub Narcotic,
Monks,
Rhythm & Sound,
Josef K,
Jesper Dahlback,
Pete Rock & C.L. Smooth,
the Swans,
Rufus Thomas,
Johnny Osbourne,
Lou Christie,
Negative Approach,
Dennis Brown,
The Pretty Things,
Rotary Connection,
Orchestral Manoeuvres in the Dark,
Ronan,
Yazoo,
The Kinks,
Soul Sonic Force,
Hoover,
The Fall,
Drive Like Jehu,
These Immortal Souls,
Strawberry Alarm Clock,
Television,
Davy DMX,
Connie Case,
Lalo Schifrin, Lalo Schifrin, Lalo Schifrin, Lalo Schifrin.
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.