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 Fiji and from Lyon.
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 1970.
I'm losing my edge.
To all the kids in Columbus and Mexico City.
I'm losing my edge to the art-school Paris 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 Selda practice in a loft in Istanbul.
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 Minny Pops to the techno 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 Stiv Bators. All the underground hits.
All Fugazi tracks. I heard you have a vinyl of every The Red Krayola record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
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 Stetsasonic record.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monolake,
Tears for Fears,
Rowland S Howard / Lydia Lunch,
Heavy D & The Boyz,
The Young Rascals,
The Count Five,
Chrome,
Robert Görl,
The Doors,
Scion,
Tubeway Army,
Terror Squad Feat. Camron,
The Barracudas,
Duran Duran,
Sad Lovers and Giants,
Brass Construction,
OOIOO,
Rotary Connection,
Isaac Hayes,
Lonnie Liston Smith,
Barrington Levy,
Supertramp,
PIL,
Gil Scott-Heron & Brian Jackson,
Orchestral Manoeuvres in the Dark,
Ronnie Foster,
Matthew Bourne,
John Holt,
the Fania All-Stars,
Morten Harket,
U.S. Maple,
Rapeman,
London Community Gospel Choir,
Blancmange,
Anthony Braxton,
Infiniti,
Lalo Schifrin,
Public Enemy,
Alice Coltrane,
Justin Hinds & The Dominoes,
Lungfish,
Roxy Music,
Country Joe & The Fish,
Avey Tare's Slasher Flicks,
New Order,
John Lydon,
Lou Christie,
Ponytail,
New York Dolls,
Sarah Menescal,
Franke,
Royal Trux,
B.T. Express,
Excepter,
Freddie Wadling,
The Electric Prunes,
Red Lorry Yellow Lorry,
Wolf Eyes,
Strawberry Alarm Clock,
The Litter,
Crispy Ambulance, Crispy Ambulance, Crispy Ambulance, Crispy Ambulance.
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.