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 Turkey and from Salvador.
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 1970.
I'm losing my edge.
To all the kids in Hong Kong and Johannesburg.
I'm losing my edge to the art-school Lille 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 1976 at the first Chic practice in a loft in New York.
I was working on the theremin 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 Ludus to the disco kids.
I played it at the Troubador.
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 Ornette Coleman. All the underground hits.
All Funky Four + One tracks. I heard you have a vinyl of every The Names 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 '70s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Scott Walker record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jerry Gold Smith,
Moebius,
Agent Orange,
Magazine,
Harmonia,
Soul Sonic Force,
Adolescents,
Lou Christie,
Aural Exciters,
Clear Light,
Symarip,
Parry Music,
Urselle,
the Slits,
The Count Five,
Mad Mike,
The Doobie Brothers,
Cameo,
Thinking Fellers Union Local 282,
Big Daddy Kane,
Charles Mingus,
Erykah Badu,
Byron Stingily,
The Busters,
Robert Wyatt,
Tom Boy,
Marvin Gaye,
Ohio Players,
Minutemen,
Bootsy's Rubber Band,
Siglo XX,
Be Bop Deluxe,
Bill Near,
Gian Franco Pienzio,
Dead Boys,
Motorama,
Negative Approach,
Robert Görl,
T.S.O.L.,
Bobbi Humphrey,
Neu!,
Jacob Miller,
The Last Poets,
T. Rex,
Main Source,
Gil Scott-Heron and Jamie xx,
D'Angelo,
The Golliwogs,
Sam Rivers,
The Durutti Column,
CMW,
Mars,
Manfred Mann's Earth Band,
Kas Product,
Sex Pistols,
Kerri Chandler,
Darondo,
Beasts of Bourbon,
Notorious Big And Bone Thugs,
The Wake,
The Electric Prunes,
Wighnomy Brothers & Robag Wruhme,
Index,
Khruangbin,
Depeche Mode, Depeche Mode, Depeche Mode, Depeche Mode.
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.