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 Germany and from Glasgow.
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 1972.
I'm losing my edge.
To all the kids in Beijing and Salvador.
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 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 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 The Happenings to the funk kids.
I played it at the Hacienda.
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 Mo-Dettes. All the underground hits.
All Lucky Dragons tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band 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 synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter Gordon & Love of Life Orchestra,
Das Ding,
Peter & Gordon,
Flipper,
Bootsy Collins,
The Raincoats,
The Zeros,
Lucky Dragons,
Marmalade,
the Fania All-Stars,
Sight & Sound,
David Bowie,
The Sonics,
The Misunderstood,
The Young Rascals,
Sly & The Family Stone,
Sun Ra Arkestra,
Reuben Wilson,
Joe Smooth,
Dark Day,
Wally Richardson,
K-Klass,
A Flock of Seagulls,
Harmonia,
Matthew Halsall,
Shuggie Otis,
Piero Umiliani,
Delta 5,
Eli Mardock,
Nik Kershaw,
Ken Boothe,
The West Coast Pop Art Experimental Band,
Nation of Ulysses,
Young Marble Giants,
Absolute Body Control,
Marc Almond,
Wolf Eyes,
Chrome,
Peter and Kerry,
Johnny Osbourne,
Gang Starr,
Severed Heads,
D'Angelo,
Sun City Girls,
Notorious BIG live in Amsterdam,
Pet Shop Boys,
John Lydon,
The Blackbyrds,
48th St. Collective,
The Barracudas,
June of 44,
Eden Ahbez,
Charles Mingus,
Deadbeat,
Jeff Lynne,
T.S.O.L.,
Smog,
Carl Craig,
Second Layer,
Rapeman,
Magazine, Magazine, Magazine, Magazine.
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.