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 Costa Rica and from Stockholm.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1963 to 1972.
I'm losing my edge.
To all the kids in Portland and Bologna.
I'm losing my edge to the art-school Cairo 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 chamberlin 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 Rod Modell to the punk 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 Nation of Ulysses. All the underground hits.
All Letta Mbulu tracks. I heard you have a vinyl of every Faraquet record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a the Soft Cell record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
Dorothy Ashby,
The Divine Comedy,
Spoonie Gee,
Andrew Hill,
Anthony Braxton,
Hardrive,
Pantaleimon,
Amazonics,
Ash Ra Tempel,
Todd Rundgren,
Grandmaster Flash,
Fifty Foot Hose,
Swell Maps,
Sex Pistols,
The Smiths,
Delon & Dalcan,
Crime,
Pussy Galore,
The Selecter,
The Smoke,
Fatback Band,
Donny Hathaway,
Rhythim Is Rhythim,
The Jesus and Mary Chain,
Sonny Sharrock,
Public Enemy,
Robert Hood,
Visage,
Faraquet,
Rakim,
Jesper Dahlbäck,
Gil Scott Heron,
Super Lover Cee & Casanova Rud,
Metal Thangz,
Procol Harum,
Roy Ayers,
Theoretical Girls,
Soul II Soul,
Barbara Tucker,
The Invisible,
Joe Finger,
The Birthday Party,
Ultravox,
David Axelrod,
Massinfluence,
Bluetip,
X-102,
Barrington Levy,
Siouxsie and the Banshees,
Negative Approach,
Ten City,
Rowland S Howard / Lydia Lunch,
Judy Mowatt,
Easy Going,
Justin Hinds & The Dominoes,
Manfred Mann's Earth Band,
Cymande,
Hasil Adkins,
The Young Rascals,
U.S. Maple,
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.