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 Spain and from Bremen.
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 Houston and Manchester.
I'm losing my edge to the art-school Paris 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the theremin 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 DeepChord presents Echospace to the dance kids.
I played it at Cafe Wha.
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 Residents. All the underground hits.
All Derrick Morgan tracks. I heard you have a vinyl of every Wally Richardson record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Walker Brothers record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heaven 17,
Amon Düül II,
Banda Bassotti,
The Real Kids,
Prince Buster,
The Vogues,
Moss Icon,
Peter & Gordon,
Second Layer,
Silicon Teens,
Kerri Chandler,
Gong,
Andrew Ashong & Theo Parrish,
Lou Reed,
Essential Logic,
Crime,
Eurythmics,
Fluxion,
Barry Ungar,
Avey Tare,
Alison Limerick,
Liaisons Dangereuses,
Fort Wilson Riot,
Boz Scaggs,
Intrusion,
Archie Shepp,
Oppenheimer Analysis,
LL Cool J,
Jeff Lynne,
Louis and Bebe Barron,
Nils Olav,
Kauko Röyhkä ja Narttu,
Anakelly,
Magazine,
The Pop Group,
The Detroit Cobras,
Agitation Free,
Icehouse,
Gastr Del Sol,
Panda Bear,
Q65,
Bobby Byrd,
Cal Tjader,
Sixth Finger,
Soft Machine,
Alton Ellis,
Black Sheep,
B.T. Express,
The Raincoats,
ABC,
Stiv Bators,
The Golliwogs,
Hasil Adkins,
Gichy Dan,
Sparks,
Vaughan Mason & Crew,
Yellowson,
Barbara Tucker,
Ultramagnetic MC's,
Angry Samoans,
Lindisfarne,
James White and The Blacks,
Scratch Acid, Scratch Acid, Scratch Acid, Scratch Acid.
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.