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 Sri Lanka and from Hong Kong.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1974.
I'm losing my edge.
To all the kids in Columbus and Salvador.
I'm losing my edge to the art-school Houston 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 Bronski Beat practice in a loft in Brixton.
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 Bauhaus to the crunk 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 Cecil Taylor. All the underground hits.
All Silicon Teens tracks. I heard you have a vinyl of every DNA record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Freddie Wadling record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
UT,
Eric Dolphy,
Ken Boothe,
Essential Logic,
Marc Romboy vs. Booka Shade,
Andrew Hill,
Pantaleimon,
Deadbeat,
Roxy Music,
the Association,
A Flock of Seagulls,
Hardrive,
The Chocolate Watch Band,
Ultimate Spinach,
Kango’s Stein Massive,
Tim Buckley,
Ajijia Myrayebe,
Prince Buster,
Echo & the Bunnymen,
The Fortunes,
The American Breed,
Fad Gadget,
Hot Snakes,
The Names,
Joy Division,
Zero Boys,
Byron Stingily,
Strawberry Alarm Clock,
Q65,
Neil Young,
Connie Case,
Lafayette Afro Rock Band,
Roger Hodgson,
Rakim,
Boredoms,
Althea and Donna,
Carl Craig,
The Dead C,
Kool G Rap & DJ Polo,
Q and Not U,
FM Einheit,
Peter & Gordon,
Eli Mardock,
Aswad,
Tommy Roe,
The Gories,
Jeff Lynne,
Ohio Players,
The Fire Engines,
Alton Ellis,
U.S. Maple,
EPMD,
Fear,
Simply Red,
The Electric Prunes,
the Normal,
Scott Walker + Sunn O))),
Model 500,
Scion,
Sonic Youth,
The Saints,
Lalo Schifrin,
The Kinks, The Kinks, The Kinks, The Kinks.
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.