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 Portugal and from Tokyo.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Halifax.
I'm losing my edge to the art-school Accra 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the rhodes sounds with much patience.
I was there when David Bowie 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 The Move to the techno kids.
I played it at Cafe Wha.
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 Brass Construction. All the underground hits.
All Youth Brigade tracks. I heard you have a vinyl of every Sister Nancy 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 '80s cut and another box set from the '90s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Arthur Verocai record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tommy Roe,
Desert Stars,
Marine Girls,
Jeff Mills,
Bobbi Humphrey,
Malaria!,
Mo-Dettes,
Sound Behaviour,
A Flock of Seagulls,
Derrick May,
Arthur Verocai,
Jerry Gold Smith,
Lafayette Afro Rock Band,
Dead Boys,
Peter and Kerry,
Don Cherry,
La Düsseldorf,
Marc Romboy vs. Booka Shade,
John Cale,
David McCallum,
F. McDonald,
The Residents,
Robert Görl,
Unrelated Segments,
Aloha Tigers,
Buzzcocks,
Slick Rick,
One Last Wish,
Sparks,
the Fania All-Stars,
The Music Machine,
Brand Nubian,
The Fire Engines,
The Men They Couldn't Hang,
Deakin,
Frankie Knuckles,
Animal Collective,
Letta Mbulu,
48th St. Collective,
Lee Hazlewood,
The Names,
This Heat,
Angels of Light & Akron/Family,
Pet Shop Boys,
X-101,
Todd Terry,
Jerry's Kids,
Saccharine Trust,
Tim Buckley,
Man Eating Sloth,
The Gun Club,
Clear Light,
Avey Tare's Slasher Flicks,
Erykah Badu,
Bang On A Can,
Parry Music,
Infiniti,
L. Decosne,
The Knickerbockers,
The Moody Blues,
Lalo Schifrin,
Nico,
D'Angelo, D'Angelo, D'Angelo, D'Angelo.
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.