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 Bhutan and from Taipei.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1960 to 1975.
I'm losing my edge.
To all the kids in London and Philadelphia.
I'm losing my edge to the art-school Glasgow 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 clarinet 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 The Standells to the techno kids.
I played it at the Hacienda.
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 Television. All the underground hits.
All The J.B.'s tracks. I heard you have a vinyl of every Smog record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Blossom Toes record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Morten Harket,
Gichy Dan,
Make Up,
Public Enemy,
Todd Terry,
Crispy Ambulance,
Bang on a Can All-Stars,
Aswad,
Wally Richardson,
Marine Girls,
Boredoms,
Funkadelic,
Chris Corsano,
Scan 7,
Mad Mike,
Ituana,
Kas Product,
The Modern Lovers,
Robert Hood,
Grandmaster Flash and the Furious Five,
Neu!,
Gil Scott-Heron & Brian Jackson,
Althea and Donna,
Delon & Dalcan,
Barry Ungar,
The Buckinghams,
Bill Wells,
Smog,
Lee Hazlewood,
The Move,
Chris & Cosey,
Livin' Joy,
Gabor Szabo,
The Beau Brummels,
Isaac Hayes,
Lindisfarne,
R.M.O.,
Model 500,
Moss Icon,
Interpol,
K-Klass,
Anthony Braxton,
The Count Five,
Liaisons Dangereuses,
Skarface,
New Order,
Country Teasers,
The Flesh Eaters,
Circle Jerks,
Gastr Del Sol,
Cal Tjader,
Ludus,
Negative Approach,
Fear,
Symarip,
Stockholm Monsters,
Barbara Tucker,
Faust,
Lyres,
Archie Shepp,
Connie Case,
Royal Trux,
Harmonia, Harmonia, Harmonia, Harmonia.
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.