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 Trinidad & Tobago and from Lagos.
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 1971.
I'm losing my edge.
To all the kids in Manchester and Paris.
I'm losing my edge to the art-school Philadelphia 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the linndrum sounds with much patience.
I was there when Lou Reed 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 Ultra Naté to the dance 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 The Fire Engines. All the underground hits.
All Kango’s Stein Massive tracks. I heard you have a vinyl of every a-ha record on German import.
I heard that you have a white label of every seminal punk 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 a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Cal Tjader record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Soft Cell,
Ultra Naté,
Donald Byrd,
Zero Boys,
Ralphi Rosario,
Japan,
Stiv Bators,
Notorious Big And Bone Thugs,
Black Bananas,
Rosa Yemen,
Ponytail,
Gang Gang Dance,
Peter Gordon & Love of Life Orchestra,
Graham Central Station,
Anakelly,
The Golliwogs,
Johnny Osbourne,
Dave Gahan,
Rekid,
Liliput,
48th St. Collective,
Audionom,
The Buckinghams,
Ronan,
Rites of Spring,
Barclay James Harvest,
The Smoke,
Thompson Twins,
Scion,
Jeff Lynne,
Captain Beefheart & His Magic Band,
David Axelrod,
Ash Ra Tempel,
The Victims,
Blake Baxter,
The Slackers,
Sunsets and Hearts,
Oppenheimer Analysis,
Deakin,
The Dead C,
Dead Boys,
Tres Demented,
Josef K,
Deadbeat,
Masters at Work,
Symarip,
Roy Ayers Ubiquity,
Alice Coltrane,
This Heat,
Fifty Foot Hose,
Ituana,
Infiniti,
Smog,
Jacques Brel,
Ronnie Foster,
The Star Department,
EPMD,
The Barracudas,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.