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 Serbia and from Portland.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Manchester and Philadelphia.
I'm losing my edge to the art-school Manila 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 linndrum sounds with much patience.
I was there when Nile Rodgers 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 Isaac Hayes to the techno 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 Swell Maps. All the underground hits.
All Blossom Toes tracks. I heard you have a vinyl of every Bill Wells 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 '90s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Electric Prunes record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Shuggie Otis,
Ossler,
Joensuu 1685,
Wally Richardson,
Peter Gordon & Love of Life Orchestra,
Scott Walker,
The Doors,
Bobby Womack,
Funky Four + One,
Sonic Youth,
a-ha,
Make Up,
James Chance & The Contortions,
Cymande,
Crime,
Alton Ellis,
Intrusion,
Camouflage,
Notorious BIG live in Amsterdam,
Moss Icon,
Major Organ And The Adding Machine,
Manfred Mann's Earth Band,
Vaughan Mason & Crew,
DeepChord presents Echospace,
Jerry Gold Smith,
Be Bop Deluxe,
Darondo,
The Motions,
Ten City,
X-Ray Spex,
Black Bananas,
The Misunderstood,
Ultramagnetic MC's,
Stetsasonic,
Thinking Fellers Union Local 282,
Au Pairs,
Pete Rock & C.L. Smooth,
The Evens,
The Monks,
Ponytail,
Motorama,
Bob Dylan,
Soft Machine,
Gian Franco Pienzio,
ABBA,
Avey Tare,
Simply Red,
Q65,
Minutemen,
Sight & Sound,
T. Rex,
Sixth Finger,
The Pop Group,
Livin' Joy,
The Young Rascals,
Prince Buster,
Pulsallama,
Letta Mbulu,
Sexual Harrassment,
Freddie Wadling,
Electric Prunes,
Rotary Connection, Rotary Connection, Rotary Connection, Rotary Connection.
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.