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 Spain 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 1979.
I'm losing my edge.
To all the kids in Tokyo and Tehran.
I'm losing my edge to the art-school Bologna 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 rhodes 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 DJ Style to the funk kids.
I played it at the Roxy.
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 Marcia Griffiths. All the underground hits.
All The Sisters of Mercy tracks. I heard you have a vinyl of every Deutsch Amerikanische Freundschaft record on German import.
I heard that you have a white label of every seminal techno 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 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tom Boy,
Ituana,
Half Japanese,
MDC,
Neil Young & Crazy Horse,
Sam Rivers,
Sexual Harrassment,
Tim Buckley,
Infiniti,
Bang on a Can All-Stars,
Gregory Isaacs,
Stockholm Monsters,
Howard Jones,
Wasted Youth,
The Young Rascals,
Franke,
Kerri Chandler,
Lizzy Mercier Descloux,
Big Daddy Kane,
Porter Ricks,
Blake Baxter,
Visionaries,LMNO, T- Love & Iriscience,
The Real Kids,
Chris & Cosey,
Kool G Rap & DJ Polo,
Barry Ungar,
Pierre Henry,
The Standells,
Joyce Sims,
The Grass Roots,
Moebius,
It's A Beautiful Day,
Mars,
The Stooges,
Vainqueur,
Rowland S Howard / Lydia Lunch,
Connie Case,
Albert Ayler,
The Sonics,
Fear,
David Axelrod,
Dual Sessions,
Magma,
World's Most,
Theoretical Girls,
Stiv Bators,
Mr. Review,
Yusef Lateef,
Richard Hell and the Voidoids,
Aloha Tigers,
Rotary Connection,
Boogie Down Productions,
Echospace,
The Last Poets,
K-Klass,
The West Coast Pop Art Experimental Band,
Frankie Knuckles,
In Retrospect,
The Alarm Clocks,
The Cowsills,
Bizarre Inc.,
The Mojo Men,
The Raincoats, The Raincoats, The Raincoats, The Raincoats.
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.