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 Luxembourg and from Salvador.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Mexico City and Bremen.
I'm losing my edge to the art-school Lille 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Dual Sessions to the grunge kids.
I played it at Cafe Wha.
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 Lou Christie. All the underground hits.
All Jacob Miller tracks. I heard you have a vinyl of every Warren Ellis record on German import.
I heard that you have a white label of every seminal rap 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 harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Fela Kuti record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Letta Mbulu,
Electric Light Orchestra,
China Crisis,
Max Romeo,
The Trojans,
Iggy Pop,
Cluster,
New Order,
The Knickerbockers,
Oneida,
Graham Central Station,
EPMD,
48th St. Collective,
Connie Case,
Nirvana,
Visionaries,LMNO, T- Love & Iriscience,
Albert Ayler,
The Divine Comedy,
Pagans,
Goldenarms,
Flipper,
Basic Channel,
Kings Of Tomorrow,
Super Lover Cee & Casanova Rud,
Pulsallama,
Aural Exciters,
Franke,
Althea and Donna,
Ohio Players,
The Skatalites,
Eyeless In Gaza,
Fat Boys,
Kauko Röyhkä ja Narttu,
Joensuu 1685,
Lou Reed & Metallica,
Gian Franco Pienzio,
The Men They Couldn't Hang,
Alison Limerick,
Yaz,
B.T. Express,
Gang Gang Dance,
Supertramp,
Rotary Connection,
Matthew Halsall,
Flamin' Groovies,
Rhythm & Sound,
Pantaleimon,
Organ,
Erykah Badu,
Fad Gadget,
Warren Ellis,
F. McDonald,
Godley & Creme,
These Immortal Souls,
a-ha,
Lucky Dragons,
Pet Shop Boys,
Duran Duran,
Curtis Mayfield,
Bobby Hutcherson,
Television Personalities,
New York Dolls,
Ultra Naté, Ultra Naté, Ultra Naté, Ultra Naté.
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.