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 Tunisia and from London.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and Delhi.
I'm losing my edge to the art-school Hong Kong 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the 808 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 Marmalade 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 Leonard Cohen. All the underground hits.
All Visage tracks. I heard you have a vinyl of every Jesper Dahlbäck record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and an oboe 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 guitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
The Red Krayola,
Cheater Slicks,
Jerry's Kids,
The Raincoats,
Gong,
The Shadows of Knight,
Pussy Galore,
Scion,
Grandmaster Flash,
Fela Kuti,
D'Angelo,
Mary Jane Girls,
Minny Pops,
Roxy Music,
La Düsseldorf,
Grauzone,
Boz Scaggs,
Spandau Ballet,
Schoolly D,
Sun Ra Arkestra,
Fad Gadget,
ABC,
The Sisters of Mercy,
kango's stein massive,
Bauhaus,
Skaos,
Scott Walker,
Sandy B,
Lee Hazlewood,
Morten Harket,
Underground Resistance,
Röyhkä ja Rättö ja Lehtisalo,
Vladislav Delay,
It's A Beautiful Day,
Siglo XX,
AZ,
Country Teasers,
Donald Byrd,
Pete Rock & C.L. Smooth,
Joy Division,
Agitation Free,
Gang of Four,
Japan,
Harpers Bizarre,
Hasil Adkins,
Erasure,
Tropical Tobacco,
Ice-T,
Blossom Toes,
Mars,
Organ,
The Smoke,
Moss Icon,
Dawn Penn,
The Evens,
Kaleidoscope,
Chris Corsano,
The Toasters,
The Move,
Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs.
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.