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 Nauru and from Accra.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Hong Kong and Madrid.
I'm losing my edge to the art-school Calgary 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the rhodes 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 DNA to the rock kids.
I played it at CBGB's.
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 The Gun Club. All the underground hits.
All The Grass Roots tracks. I heard you have a vinyl of every Amon Düül record on German import.
I heard that you have a white label of every seminal dance 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 synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Eddi Front 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?
Joyce Sims,
Fat Boys,
Flash Fearless,
Major Organ And The Adding Machine,
Dark Day,
The Real Kids,
Amon Düül,
Terrestrial Tones,
Japan,
F. McDonald,
Arcadia,
Unwound,
Lafayette Afro Rock Band,
the Soft Cell,
The Trojans,
Kings Of Tomorrow,
Röyhkä ja Rättö ja Lehtisalo,
Public Enemy,
B.T. Express,
Pharoah Sanders,
Ossler,
Excepter,
Rotary Connection,
Masters at Work,
Kool G Rap & DJ Polo,
Pulsallama,
Yusef Lateef,
Black Flag,
The Pretty Things,
The Techniques,
Unrelated Segments,
The Beau Brummels,
Boogie Down Productions,
Jeff Mills,
Drexciya,
Frankie Knuckles,
The Blues Magoos,
Scott Walker,
Visage,
Maurizio,
The Moody Blues,
Lindisfarne,
EPMD,
Deutsch Amerikanische Freundschaft,
Underground Resistance,
Todd Rundgren,
Scrapy,
OOIOO,
Teenage Jesus and the Jerks,
The Electric Prunes,
Selector Dub Narcotic,
The Vogues,
The Sound,
Sällskapet,
Main Source,
U.S. Maple,
Zero Boys,
John Lydon,
Siglo XX,
Pantaleimon,
Aswad, Aswad, Aswad, Aswad.
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.