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 Norway and from Spokane.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Spokane and Madrid.
I'm losing my edge to the art-school Portland 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 harpsichord sounds with much patience.
I was there when Holger Czukay 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 Rosa Yemen to the disco 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 Icehouse. All the underground hits.
All ABBA tracks. I heard you have a vinyl of every Brick record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Piero Umiliani,
8 Eyed Spy,
Wire,
Cluster,
Ultravox,
Joe Smooth,
Lightning Bolt,
the Human League,
the Bar-Kays,
Dave Gahan,
Fear,
Rahsaan Roland Kirk,
The Busters,
De La Soul & Jungle Brothers,
ABC,
Judy Mowatt,
Ralphi Rosario,
Nils Olav,
Maurizio,
Matthew Halsall,
Dark Day,
The Fortunes,
Black Flag,
The Selecter,
Tubeway Army,
Sunsets and Hearts,
Joensuu 1685,
Susan Cadogan,
Don Cherry,
The Chocolate Watch Band,
X-101,
Sandy B,
The Human League,
Yusef Lateef,
Ponytail,
Be Bop Deluxe,
Josef K,
Glenn Branca,
Rod Modell,
Gregory Isaacs,
Loose Ends,
Sonny Sharrock,
Ultramagnetic MC's,
Bobbi Humphrey,
Liaisons Dangereuses,
Terry Callier,
U.S. Maple,
Newcleus,
Accadde A,
Soft Machine,
Siglo XX,
The Doors,
Au Pairs,
Urselle,
The New Christs,
Arthur Verocai,
The Pretty Things,
Severed Heads,
The Durutti Column,
China Crisis,
Wasted Youth,
The Buckinghams, The Buckinghams, The Buckinghams, The Buckinghams.
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.