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 Canada and from Seoul.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Hong Kong.
I'm losing my edge to the art-school Shanghai 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 synthesizer sounds with much patience.
I was there when Robert Palmer 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 Erykah Badu to the funk kids.
I played it at the Astoria.
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 Absolute Body Control. All the underground hits.
All Liliput tracks. I heard you have a vinyl of every Neil Young record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Tom Boy record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kevin Saunderson,
Shoche,
Ronnie Foster,
Lou Christie,
Adolescents,
The Monks,
the Normal,
PIL,
Eli Mardock,
Al Stewart,
Roxette,
Sound Behaviour,
Magazine,
World's Most,
Sparks,
Cabaret Voltaire,
Gang Gang Dance,
The Blues Magoos,
Rekid,
Charles Mingus,
Wire,
Sonny Sharrock,
48th St. Collective,
Rotary Connection,
Avey Tare & Kría Brekkan,
Marine Girls,
Bootsy's Rubber Band,
Gian Franco Pienzio,
June of 44,
Aural Exciters,
The Fuzztones,
Cymande,
Pantytec,
Oppenheimer Analysis,
The Cosmic Jokers,
The Beau Brummels,
Jerry's Kids,
Bootsy Collins,
Barbara Tucker,
Moebius,
Yusef Lateef,
Section 25,
DeepChord presents Echospace,
The Dave Clark Five,
Neil Young & Crazy Horse,
Dawn Penn,
Das Ding,
Donald Byrd,
Rapeman,
Vainqueur,
Soul II Soul,
Siouxsie and the Banshees,
Massinfluence,
Half Japanese,
Little Man,
Radio Birdman,
Barrington Levy,
Faraquet,
Icehouse,
Angels of Light & Akron/Family,
Babytalk,
Porter Ricks,
Freddie Wadling, Freddie Wadling, Freddie Wadling, Freddie Wadling.
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.