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 Gambia and from Stockholm.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Bologna and Bremen.
I'm losing my edge to the art-school Milan 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 1973 at the first Television practice in a loft in New York.
I was working on the rhodes sounds with much patience.
I was there when Lou Reed 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 Depeche Mode to the rock kids.
I played it at the 40 Watt.
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 Glambeats Corp.. All the underground hits.
All The Star Department tracks. I heard you have a vinyl of every Rekid record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Pantaleimon record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cosmic Jokers,
Zapp,
Suburban Knight,
Robert Görl,
Ronnie Foster,
Terrestrial Tones,
Theoretical Girls,
Graham Central Station,
Duran Duran,
Clear Light,
Skarface,
Stiv Bators,
Judy Mowatt,
Model 500,
Avey Tare & Kría Brekkan,
Rapeman,
Skaos,
Bill Wells,
New Age Steppers,
Dr. Dre and Snoop Doggy Dog,
Red Lorry Yellow Lorry,
Joyce Sims,
Alice Coltrane,
The Barracudas,
Donald Byrd,
Camouflage,
Lou Reed & Metallica,
The Gun Club,
Faust,
Marc Romboy vs. Booka Shade,
La Düsseldorf,
Notorious Big And Bone Thugs,
Symarip,
Animal Collective,
David Axelrod,
Marc Almond,
The Fuzztones,
Rufus Thomas,
Jeru the Damaja,
The Motions,
Sun Ra,
Slave,
Faraquet,
The Cramps,
LL Cool J,
Flash Fearless,
Pulsallama,
Kenny Larkin,
Wings,
Sound Behaviour,
Kurtis Blow,
The New Christs,
Excepter,
Altered Images,
Curtis Mayfield,
PIL,
Vaughan Mason & Crew,
Wasted Youth,
Piero Umiliani,
X-101,
Sugar Minott,
Matthew Halsall,
Barrington Levy, Barrington Levy, Barrington Levy, Barrington Levy.
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.