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 Marshall Islands and from Toronto.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Tehran.
I'm losing my edge to the art-school Bologna 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the theremin sounds with much patience.
I was there when Michael McDonald 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 Motorama to the jazz kids.
I played it at CBGB's.
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 Public Enemy. All the underground hits.
All The Durutti Column tracks. I heard you have a vinyl of every Frankie Knuckles 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 '70s cut and another box set from the '70s.
I hear you're buying a rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Severed Heads record.
I hear that you and your band have sold your theremin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T.S.O.L.,
Charles Mingus,
Boogie Down Productions,
Gil Scott Heron,
Camron Feat. Memphis Bleek And Beenie Seigel,
Todd Terry,
Avey Tare's Slasher Flicks,
The Cramps,
Reagan Youth,
Cabaret Voltaire,
Glenn Branca,
Johnny Clarke,
Schoolly D,
Ajijia Myrayebe,
Larry & the Blue Notes,
Amon Düül II,
Sun City Girls,
Wolf Eyes,
Isaac Hayes,
The Mojo Men,
Television,
Al Stewart,
Brick,
James Chance & The Contortions,
Sarah Menescal,
Aaron Thompson,
Model 500,
Kings Of Tomorrow,
Outsiders,
Rakim,
Lonnie Liston Smith,
Aural Exciters,
Gong,
Fugazi,
Faust,
Lee Hazlewood,
Wings,
Stockholm Monsters,
Andrew Ashong & Theo Parrish,
The Jesus and Mary Chain,
The Techniques,
Deutsch Amerikanische Freundschaft,
Young Marble Giants,
The Cure,
Andrew Hill,
The United States of America,
Rod Modell,
Soul II Soul,
Soft Machine,
Eddi Front,
Q and Not U,
Matthew Bourne,
Eric Copeland,
Marcia Griffiths,
Donald Byrd,
Iggy Pop,
The J.B.'s,
Aswad,
Pantaleimon,
The Shadows of Knight,
The Associates,
The American Breed, The American Breed, The American Breed, The American Breed.
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.