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 New Zealand and from Beijing.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Stockholm.
I'm losing my edge to the art-school Paris 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 spring reverb sounds with much patience.
I was there when David Bowie 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 Minnie Riperton to the disco 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 Donny Hathaway. All the underground hits.
All Aswad tracks. I heard you have a vinyl of every Zero Boys 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 '50s cut and another box set from the '80s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Kinks record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Davy DMX,
Bauhaus,
Smog,
Rufus Thomas,
The Associates,
Stiv Bators,
Dr. Dre and Snoop Doggy Dog,
Banda Bassotti,
Negative Approach,
Andrew Hill,
Ossler,
Sam Rivers,
Avey Tare & Kría Brekkan,
Ornette Coleman,
La Düsseldorf,
The Men They Couldn't Hang,
Wolf Eyes,
The Slits,
Bush Tetras,
June of 44,
Crime,
Fat Boys,
Hashim,
Little Man,
Lakeside,
The Fire Engines,
kango's stein massive,
The Real Kids,
Niagra,
The Toasters,
Eurythmics,
Nas,
Pharoah Sanders,
Danielle Patucci,
Flash Fearless,
Eyeless In Gaza,
Urselle,
The Fuzztones,
The Five Americans,
The Doors,
Stockholm Monsters,
Marshall Jefferson,
Faust,
The Offenders,
Amon Düül,
Roy Ayers,
Spandau Ballet,
Camberwell Now,
Gian Franco Pienzio,
Rowland S Howard / Lydia Lunch,
Soulsonic Force,
Marcia Griffiths,
Cabaret Voltaire,
Tubeway Army,
The Human League,
Franke,
Sound Behaviour,
Michelle Simonal,
Ronnie Foster,
Silicon Teens,
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.