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 Burkina and from Johannesburg.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1973.
I'm losing my edge.
To all the kids in Johannesburg and Edmonton.
I'm losing my edge to the art-school Halifax 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 organ sounds with much patience.
I was there when Tom Verlaine 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 Barry Ungar to the jazz 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 Maurizio. All the underground hits.
All Bobby Womack tracks. I heard you have a vinyl of every Sandy B record on German import.
I heard that you have a white label of every seminal grunge 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 linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Cosmic Jokers record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Sonny Sharrock,
E-Dancer,
The Martian,
Tomorrow,
Kango’s Stein Massive,
The Jesus and Mary Chain,
The Knickerbockers,
Ponytail,
Cecil Taylor,
Jeff Lynne,
Mars,
Groovy Waters,
Livin' Joy,
Pet Shop Boys,
Louis and Bebe Barron,
Index,
Black Moon,
The Mighty Diamonds,
Second Layer,
Marmalade,
the Fania All-Stars,
Stockholm Monsters,
F. McDonald,
The Misunderstood,
Nick Cave & The Bad Seeds,
Howard Jones,
Alice Coltrane,
Cabaret Voltaire,
Blancmange,
Lakeside,
Bronski Beat,
Flamin' Groovies,
The Moleskins,
Sällskapet,
Rod Modell,
Jandek,
The Dead C,
Young Marble Giants,
EPMD,
David Axelrod,
Sun Ra,
Wolf Eyes,
The Mojo Men,
Intrusion,
Peter and Kerry,
Pussy Galore,
Section 25,
Amon Düül II,
Fela Kuti,
Outsiders,
De La Soul & Jungle Brothers,
Archie Shepp,
Babytalk,
The Grass Roots,
Los Fastidios,
Lee Hazlewood,
Animal Collective,
Carl Craig,
Teenage Jesus and the Jerks,
Juan Atkins,
Dorothy Ashby,
The Victims,
Angry Samoans,
Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson.
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.