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 East Timor and from Shanghai.
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 1972.
I'm losing my edge.
To all the kids in Columbus and Johannesburg.
I'm losing my edge to the art-school Taipei 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 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 Malaria! to the grime 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 Jacques Brel. All the underground hits.
All The Velvet Underground tracks. I heard you have a vinyl of every Richard Hell and the Voidoids 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 '60s cut and another box set from the '70s.
I hear you're buying a güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Freddie Wadling record.
I hear that you and your band have sold your sitar and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flipper,
Gil Scott-Heron & Brian Jackson,
Liliput,
Dorothy Ashby,
Ornette Coleman,
Gil Scott Heron,
Howard Jones,
Roxy Music,
Notorious BIG live in Amsterdam,
The Motions,
The Star Department,
Mission of Burma,
X-Ray Spex,
Eric Copeland,
Gary Puckett & The Union Gap,
Young Marble Giants,
Lafayette Afro Rock Band,
Ohio Players,
The Move,
Godley & Creme,
Nation of Ulysses,
Avey Tare's Slasher Flicks,
H. Thieme,
Ash Ra Tempel,
Ultimate Spinach,
Marine Girls,
Echospace,
Reagan Youth,
Joensuu 1685,
Amazonics,
Colin Newman,
Pussy Galore,
Red Lorry Yellow Lorry,
Art Ensemble Of Chicago,
Jesper Dahlback,
Public Image Ltd.,
F. McDonald,
Thompson Twins,
Lizzy Mercier Descloux,
Sandy B,
Harmonia,
Super Lover Cee & Casanova Rud,
Bobby Hutcherson,
8 Eyed Spy,
Terror Squad Feat. Camron,
Lyres,
Mandrill,
The Moody Blues,
Ajijia Myrayebe,
The Toasters,
a-ha,
Cal Tjader,
Audionom,
Rhythim Is Rhythim,
The Divine Comedy,
Shoche,
The Tremeloes,
Lower 48,
Avey Tare & Kría Brekkan,
Neu!,
Alton Ellis, Alton Ellis, Alton Ellis, Alton Ellis.
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.