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 Hungary and from Lagos.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Spokane and Stockholm.
I'm losing my edge to the art-school Columbus 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 marimba sounds with much patience.
I was there when Nile Rodgers 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 Lakeside to the techno kids.
I played it at Cafe Wha.
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 Rapeman. All the underground hits.
All Oneida tracks. I heard you have a vinyl of every Public Image Ltd. 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 '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Notorious BIG live in Amsterdam record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minnie Riperton,
the Soft Cell,
The Five Americans,
Colin Newman,
Maurizio,
Eurythmics,
James White and The Blacks,
Procol Harum,
X-101,
Thompson Twins,
Marmalade,
Archie Shepp,
Blossom Toes,
Andrew Ashong & Theo Parrish,
Pantytec,
kango's stein massive,
The Jesus and Mary Chain,
Carl Craig,
Crash Course in Science,
Ossler,
Magma,
Mantronix,
EPMD,
Con Funk Shun,
Loose Ends,
The American Breed,
Slave,
The Gories,
Oppenheimer Analysis,
David Bowie,
Sixth Finger,
Ten City,
Robert Wyatt,
8 Eyed Spy,
Bauhaus,
Surgeon,
Ultravox,
Lizzy Mercier Descloux,
Liaisons Dangereuses,
Suicide,
The Fortunes,
Arcadia,
DJ Style,
Alice Coltrane,
Television Personalities,
Lindisfarne,
Cymande,
AZ,
Charles Mingus,
June of 44,
Underground Resistance,
Popol Vuh,
Rekid,
Whodini,
Essential Logic,
Visage,
A Certain Ratio,
The Fire Engines,
The Divine Comedy, The Divine Comedy, The Divine Comedy, The Divine Comedy.
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.