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 Belgium and from Bologna.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1974.
I'm losing my edge.
To all the kids in Beijing and Shanghai.
I'm losing my edge to the art-school Taipei 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 1983 at the first Bronski Beat practice in a loft in Brixton.
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 Jacques Brel to the grime kids.
I played it at the Crocodile.
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 Bobby Sherman. All the underground hits.
All Amon Düül tracks. I heard you have a vinyl of every Jimmy McGriff record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a rhodes and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stockholm Monsters,
DJ Sneak,
Franke,
Parry Music,
James White and The Blacks,
Alphaville,
Gil Scott Heron,
Quantec,
The Young Rascals,
Brick,
Kauko Röyhkä ja Narttu,
Magazine,
Rhythm & Sound,
Selector Dub Narcotic,
DNA,
Masters at Work,
Electric Light Orchestra,
Cybotron,
cv313,
The Invisible,
The Monochrome Set,
Soulsonic Force,
The Victims,
Au Pairs,
Delon & Dalcan,
Robert Görl,
Zero Boys,
Schoolly D,
The Toasters,
Kool Moe Dee,
Lindisfarne,
The Blues Magoos,
Rites of Spring,
The Slits,
Sugar Minott,
The Skatalites,
The Last Poets,
Lebanon Hanover,
Strawberry Alarm Clock,
Babytalk,
Soul II Soul,
Tres Demented,
Goldenarms,
the Swans,
Erasure,
The Red Krayola,
Harmonia,
Traffic Nightmare,
Suburban Knight,
Gang Green,
The Velvet Underground,
The Saints,
Rhythim Is Rhythim,
Liaisons Dangereuses,
Pierre Henry,
John Coltrane,
Pole,
The Cowsills,
Fad Gadget,
Marvin Gaye,
Smog,
Qualms,
Swell Maps,
Boz Scaggs, Boz Scaggs, Boz Scaggs, Boz Scaggs.
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.