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 Indonesia and from Manchester.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1965 to 1975.
I'm losing my edge.
To all the kids in Bologna and Toronto.
I'm losing my edge to the art-school Shanghai 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 rhodes sounds with much patience.
I was there when Michael McDonald 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 Charles Mingus to the funk 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 Jerry Gold Smith. All the underground hits.
All F. McDonald tracks. I heard you have a vinyl of every Masters at Work record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Peter Gordon & Love of Life Orchestra record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Visionaries,LMNO, T- Love & Iriscience,
Warren Ellis,
Deakin,
Jawbox,
The Busters,
Kurtis Blow,
Joensuu 1685,
The Doors,
Pete Rock & C.L. Smooth,
The Fuzztones,
Amon Düül,
Inner City,
kango's stein massive,
Rakim,
Traffic Nightmare,
Amazonics,
Sparks,
Faust,
DeepChord presents Echospace,
Dark Day,
Rekid,
The Slits,
Con Funk Shun,
Lower 48,
Eyeless In Gaza,
The Grass Roots,
Jandek,
Clear Light,
Niagra,
The West Coast Pop Art Experimental Band,
Kauko Röyhkä ja Narttu,
Tom Boy,
Adolescents,
Byron Stingily,
The Index,
Skaos,
New Age Steppers,
Delta 5,
Bootsy's Rubber Band,
Goldenarms,
Art Ensemble Of Chicago,
Depeche Mode,
Super Lover Cee & Casanova Rud,
Pulsallama,
Dennis Brown,
Bronski Beat,
The Detroit Cobras,
The Black Dice,
Electric Light Orchestra,
Symarip,
Nik Kershaw,
Moby Grape,
Lightning Bolt,
The Moleskins,
Judy Mowatt,
Lafayette Afro Rock Band,
Make Up,
10cc,
The Vogues,
Donald Byrd,
Scrapy,
Fat Boys,
Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio.
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.