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 Poland and from Mexico City.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Mexico City and Houston.
I'm losing my edge to the art-school Johannesburg 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the 808 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 Big Daddy Kane to the rap 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 Joensuu 1685. All the underground hits.
All The Monochrome Set tracks. I heard you have a vinyl of every John Coltrane 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 '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Roxette record.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Cell,
The Pretty Things,
Qualms,
The Litter,
Parry Music,
Camberwell Now,
Gerry Rafferty,
Technova,
Skaos,
Zapp,
Livin' Joy,
Terry Callier,
Grey Daturas,
Bootsy Collins,
F. McDonald,
Marc Almond,
Flamin' Groovies,
Johnny Clarke,
Alphaville,
The Toasters,
8 Eyed Spy,
Lakeside,
Erasure,
Tres Demented,
Banda Bassotti,
Eddi Front,
Deakin,
Röyhkä ja Rättö ja Lehtisalo,
Animal Collective,
The Barracudas,
Harpers Bizarre,
Slave,
Notorious BIG live in Amsterdam,
Avey Tare & Kría Brekkan,
Gil Scott Heron,
DJ Style,
The Gladiators,
La Düsseldorf,
Thinking Fellers Union Local 282,
Ronan,
Jeff Mills,
The Dirtbombs,
Albert Ayler,
48th St. Collective,
Thompson Twins,
Glambeats Corp.,
Bizarre Inc.,
The Knickerbockers,
The Sound,
Model 500,
Agent Orange,
Chrome,
Alton Ellis,
Justin Hinds & The Dominoes,
Big Daddy Kane,
Y Pants,
Peter & Gordon,
Wally Richardson,
John Holt,
Matthew Bourne,
Dead Boys, Dead Boys, Dead Boys, Dead Boys.
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.