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 New Zealand and from Bremen.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Winnipeg and Columbus.
I'm losing my edge to the art-school Salvador 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 rhodes 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 Amazonics to the funk kids.
I played it at the Spitz.
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 Sly & The Family Stone. All the underground hits.
All Gichy Dan tracks. I heard you have a vinyl of every Blake Baxter record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sparks record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Görl,
Beasts of Bourbon,
Trumans Water,
Sun City Girls,
Technova,
Ten City,
Country Teasers,
Intrusion,
The Golliwogs,
Rosa Yemen,
Lyres,
Selector Dub Narcotic,
Dr. Dre and Snoop Doggy Dog,
The Cramps,
Essential Logic,
The American Breed,
DNA,
Sällskapet,
The Royal Family And The Poor,
Barrington Levy,
Fifty Foot Hose,
Audionom,
Danielle Patucci,
Ice-T,
Althea and Donna,
Hashim,
Deepchord,
Supertramp,
Manfred Mann's Earth Band,
Rahsaan Roland Kirk,
Bootsy's Rubber Band,
The Barracudas,
Ajijia Myrayebe,
Fugazi,
Pagans,
Mark Hollis,
Strawberry Alarm Clock,
Kayak,
Tomorrow,
Archie Shepp,
Severed Heads,
DJ Sneak,
Al Stewart,
the Germs,
The West Coast Pop Art Experimental Band,
James Chance & The Contortions,
The Dave Clark Five,
MDC,
The Standells,
Infiniti,
The Doobie Brothers,
Lee Hazlewood,
Delta 5,
Arthur Verocai,
The Trojans,
The Peanut Butter Conspiracy,
Slave,
Todd Terry,
Flamin' Groovies,
Motorama,
48th St. Collective,
The Grass Roots,
Andrew Hill, Andrew Hill, Andrew Hill, Andrew Hill.
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.