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 Kosovo and from Accra.
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 1978.
I'm losing my edge.
To all the kids in Delhi and Edmonton.
I'm losing my edge to the art-school Johannesburg 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the rhodes 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 Wally Richardson to the dance 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 Lalann. All the underground hits.
All Parry Music tracks. I heard you have a vinyl of every Electric Light Orchestra record on German import.
I heard that you have a white label of every seminal electroclash 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 an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Soft Machine,
EPMD,
Beasts of Bourbon,
Fad Gadget,
Wighnomy Brothers & Robag Wruhme,
FM Einheit,
Amon Düül,
Selector Dub Narcotic,
Chris Corsano,
Piero Umiliani,
Neu!,
Rhythim Is Rhythim,
Public Image Ltd.,
Shoche,
Bronski Beat,
Letta Mbulu,
Yaz,
U.S. Maple,
Japan,
Fat Boys,
Moebius,
Ronnie Foster,
Gerry Rafferty,
Black Sheep,
The New Christs,
Sonny Sharrock,
Blossom Toes,
The Alarm Clocks,
Tres Demented,
Max Romeo,
Stereo Dub,
The Royal Family And The Poor,
Fear,
Grandmaster Flash,
Visage,
The Zeros,
Black Pus,
Wasted Youth,
Rhythm & Sound,
Simply Red,
June Days,
the Human League,
Oblivians,
Radiopuhelimet,
Mantronix,
Anakelly,
Cabaret Voltaire,
Nico,
Monks,
UT,
Rod Modell,
Lee Hazlewood,
Marvin Gaye,
Sparks,
Justin Hinds & The Dominoes,
Index,
Strawberry Alarm Clock,
Country Teasers,
Youth Brigade,
Rufus Thomas,
Bill Near,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.