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 Mongolia and from New York.
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 1970.
I'm losing my edge.
To all the kids in Shanghai and Lagos.
I'm losing my edge to the art-school Stockholm 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the chamberlin sounds with much patience.
I was there when Donald Fagen 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 Fat Boys to the grime kids.
I played it at the Astoria.
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 Erasure. All the underground hits.
All The Barracudas tracks. I heard you have a vinyl of every the Bar-Kays record on German import.
I heard that you have a white label of every seminal grunge 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 an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a La Düsseldorf record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Toni Rubio,
Nils Olav,
Hardrive,
The Chocolate Watch Band,
Kurtis Blow,
The United States of America,
Tomorrow,
New Order,
Oppenheimer Analysis,
Laurel Aitken,
The Royal Family And The Poor,
The Velvet Underground,
Patti Smith,
Eve St. Jones,
Soulsonic Force,
Cheater Slicks,
The Fugs,
Deepchord,
David McCallum,
The Modern Lovers,
Flash Fearless,
Traffic Nightmare,
Strawberry Alarm Clock,
Carl Craig,
Sandy B,
Leonard Cohen,
Zero Boys,
The Toasters,
Marvin Gaye,
Radiopuhelimet,
Boz Scaggs,
Yusef Lateef,
Rites of Spring,
Barclay James Harvest,
Lindisfarne,
The Trojans,
Mark Hollis,
Lafayette Afro Rock Band,
Henry Cow,
Trumans Water,
Terry Callier,
Fat Boys,
Ten City,
Ice-T,
Peter and Kerry,
Subhumans,
Art Ensemble Of Chicago,
Derrick May,
DeepChord presents Echospace,
Oblivians,
Main Source,
A Flock of Seagulls,
Ralphi Rosario,
Chrome,
Robert Görl,
Barrington Levy,
Janne Schatter,
Niagra,
Eden Ahbez,
Easy Going,
Aloha Tigers,
Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry.
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.