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 Tehran.
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 1979.
I'm losing my edge.
To all the kids in Philadelphia and Manchester.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the guitar 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 Kurtis Blow to the crunk 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 Pagans. All the underground hits.
All Electric Light Orchestra tracks. I heard you have a vinyl of every Kool G Rap & DJ Polo record on German import.
I heard that you have a white label of every seminal electroclash 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 a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a AZ record.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Sherman,
The Remains,
Eurythmics,
T.S.O.L.,
Leonard Cohen,
Kango’s Stein Massive,
Intrusion,
La Düsseldorf,
Rhythm & Sound,
Scan 7,
D'Angelo,
Jawbox,
Radio Birdman,
Tears for Fears,
Jimmy McGriff,
Warren Ellis,
Jerry Gold Smith,
Jacques Brel,
Massinfluence,
Interpol,
Bobby Byrd,
Nico,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Stooges,
Althea and Donna,
JFA,
Tubeway Army,
Young Marble Giants,
Johnny Clarke,
Aswad,
Lindisfarne,
Ronan,
Youth Brigade,
Pere Ubu,
DNA,
Grey Daturas,
Bootsy Collins,
DJ Style,
Brass Construction,
Joey Negro,
The Happenings,
Pagans,
The Red Krayola,
Kas Product,
Ash Ra Tempel,
Deutsch Amerikanische Freundschaft,
Con Funk Shun,
Sun Ra Arkestra,
Hoover,
Laurel Aitken,
The Pop Group,
Yusef Lateef,
Avey Tare & Kría Brekkan,
Accadde A,
Wighnomy Brothers & Robag Wruhme,
Beasts of Bourbon,
Scott Walker,
The Beau Brummels,
Japan,
Babytalk,
Skriet,
Frankie Knuckles, Frankie Knuckles, Frankie Knuckles, Frankie Knuckles.
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.