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 Equatorial Guinea 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 1961 to 1970.
I'm losing my edge.
To all the kids in Toronto and Woodstock.
I'm losing my edge to the art-school Cairo 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 808 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 Robert Hood to the dance kids.
I played it at the 40 Watt.
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 Offenders. All the underground hits.
All Gang Starr tracks. I heard you have a vinyl of every Lou Reed record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Ten City record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Piero Umiliani,
The Move,
The Monochrome Set,
Lou Reed & John Cale,
MC5,
Laurel Aitken,
T. Rex,
Sam Rivers,
Dennis Brown,
Orchestral Manoeuvres in the Dark,
The Victims,
Stiv Bators,
Symarip,
Talk Talk,
Eurythmics,
Joey Negro,
The Royal Family And The Poor,
Lebanon Hanover,
Altered Images,
ABC,
Lyres,
Lightning Bolt,
Freddie Wadling,
Mandrill,
Parry Music,
Larry & the Blue Notes,
The Birthday Party,
The Pop Group,
Roxy Music,
Dorothy Ashby,
Nation of Ulysses,
Cecil Taylor,
Bad Manners,
John Lydon,
The Seeds,
Kevin Saunderson,
The Monks,
Simply Red,
Alton Ellis,
Wasted Youth,
Man Parrish,
The Dirtbombs,
Minutemen,
Kurtis Blow,
Junior Murvin,
Fela Kuti,
Bauhaus,
Moby Grape,
Young Marble Giants,
Duran Duran,
Arthur Verocai,
John Cale,
H. Thieme,
Qualms,
Röyhkä ja Rättö ja Lehtisalo,
U.S. Maple,
The Mummies,
Oblivians,
Mary Jane Girls,
Jawbox,
Massinfluence,
Ronan, Ronan, Ronan, Ronan.
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.