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 Liechtenstein and from Toronto.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Lagos and New York.
I'm losing my edge to the art-school Woodstock 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 chamberlin 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 Sarah Menescal to the rap 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 Laurel Aitken. All the underground hits.
All Moby Grape tracks. I heard you have a vinyl of every Thompson Twins record on German import.
I heard that you have a white label of every seminal rock 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 a 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Brothers Johnson record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Chocolate Watch Band,
Cameo,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
48th St. Collective,
Skarface,
Chris & Cosey,
The Fugs,
This Heat,
Pulsallama,
Angry Samoans,
Schoolly D,
Circle Jerks,
Blake Baxter,
Scott Walker,
Jeff Lynne,
Drexciya,
Dark Day,
Soul Sonic Force,
Davy DMX,
Bobby Sherman,
Lucky Dragons,
Mo-Dettes,
Todd Terry,
Wally Richardson,
Derrick May,
The Buckinghams,
The Index,
Scientists,
Gang Green,
Flipper,
ABBA,
Ash Ra Tempel,
Quantec,
The United States of America,
Fugazi,
Terrestrial Tones,
Crime,
Faraquet,
Lou Reed & John Cale,
Von Mondo,
the Fania All-Stars,
New York Dolls,
Brass Construction,
Joey Negro,
Liliput,
Boz Scaggs,
The Misunderstood,
Yellowson,
Arcadia,
The Monks,
Sun Ra,
Glambeats Corp.,
Toni Rubio,
Livin' Joy,
Severed Heads,
Qualms,
Fort Wilson Riot,
Magma,
Aural Exciters,
Spandau Ballet,
The Fortunes,
Glenn Branca,
Harmonia, Harmonia, Harmonia, Harmonia.
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.