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 Monaco and from Columbus.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Lagos and Woodstock.
I'm losing my edge to the art-school Seoul 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 Holger Czukay 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 Glambeats Corp. to the electroclash kids.
I played it at Trash.
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 Roy Ayers. All the underground hits.
All Spandau Ballet tracks. I heard you have a vinyl of every The Cowsills 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 '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Q65 record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Residents,
The Cowsills,
Derrick Morgan,
Pete Rock & C.L. Smooth,
Oblivians,
The Gladiators,
ABBA,
Art Ensemble Of Chicago,
Johnny Osbourne,
The Count Five,
Gastr Del Sol,
UT,
Massinfluence,
Wire,
Moss Icon,
Kenny Larkin,
Skarface,
Terrestrial Tones,
Pharoah Sanders,
Magma,
Notorious Big And Bone Thugs,
Wally Richardson,
Bizarre Inc.,
Can,
Television Personalities,
Lou Reed,
Con Funk Shun,
Roger Hodgson,
Camberwell Now,
Urselle,
Japan,
De La Soul & Jungle Brothers,
Popol Vuh,
Crash Course in Science,
Glambeats Corp.,
Groovy Waters,
the Soft Cell,
Jerry's Kids,
Lucky Dragons,
Minutemen,
Althea and Donna,
Lalo Schifrin,
Swans,
Siglo XX,
Susan Cadogan,
Juan Atkins,
Dawn Penn,
Peter and Kerry,
Aaron Thompson,
Lungfish,
Rosa Yemen,
The Litter,
Kas Product,
Al Stewart,
Joe Smooth,
Scan 7,
The Misunderstood,
Pet Shop Boys,
Funky Four + One,
Lou Christie,
The Jesus and Mary Chain,
Duran Duran,
Steve Hackett,
Franke, Franke, Franke, Franke.
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.