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 Algeria and from Toronto.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Manchester and Portland.
I'm losing my edge to the art-school Columbus 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 spring reverb 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 The Red Krayola to the jazz 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 Loose Ends. All the underground hits.
All Judy Mowatt tracks. I heard you have a vinyl of every The Seeds 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 synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Major Organ And The Adding Machine,
Rowland S Howard / Lydia Lunch,
Prince Buster,
Eric B and Rakim,
Smog,
Mission of Burma,
Joyce Sims,
The Velvet Underground,
The Peanut Butter Conspiracy,
The J.B.'s,
The Standells,
U.S. Maple,
Jawbox,
Flipper,
Mr. Review,
Section 25,
Brick,
the Normal,
Reagan Youth,
Heavy D & The Boyz,
Byron Stingily,
Tomorrow,
In Retrospect,
Alphaville,
Soul Sonic Force,
Anakelly,
Sly & The Family Stone,
Robert Wyatt,
Joe Smooth,
Ronnie Foster,
This Heat,
Lafayette Afro Rock Band,
Ralphi Rosario,
Bobby Sherman,
Goldenarms,
Massinfluence,
The Raincoats,
Piero Umiliani,
Whodini,
Sarah Menescal,
Skarface,
Eden Ahbez,
H. Thieme,
The Evens,
Half Japanese,
Kings Of Tomorrow,
Bill Near,
Amon Düül,
James Chance & The Contortions,
Ultimate Spinach,
Lower 48,
Archie Shepp,
Quantec,
The Misunderstood,
Cymande,
Underground Resistance,
Avey Tare & Kría Brekkan,
Gil Scott-Heron & Brian Jackson,
Deakin,
Negative Approach,
Man Eating Sloth,
Nick Fraelich,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.