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 Dominican Republic 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 1968 to 1972.
I'm losing my edge.
To all the kids in Jakarta and Calgary.
I'm losing my edge to the art-school Seoul 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 mellotron 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 Jacques Brel to the techno kids.
I played it at the Spitz.
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 Associates. All the underground hits.
All Dawn Penn tracks. I heard you have a vinyl of every Eric B and Rakim record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Mission of Burma record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aural Exciters,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Jesus and Mary Chain,
Deadbeat,
Don Cherry,
Youth Brigade,
Kerri Chandler,
Ash Ra Tempel,
MDC,
Brand Nubian,
Echo & the Bunnymen,
Gian Franco Pienzio,
Shuggie Otis,
Lungfish,
Cheater Slicks,
Eden Ahbez,
Lou Reed & John Cale,
Rotary Connection,
Gregory Isaacs,
The Moody Blues,
The Neon Judgement,
Moby Grape,
Quadrant,
Joy Division,
Au Pairs,
Judy Mowatt,
Mantronix,
The Tremeloes,
The Kinks,
Model 500,
Monks,
Derrick May,
Johnny Osbourne,
Organ,
Visage,
Bobby Womack,
Make Up,
Nation of Ulysses,
The Cosmic Jokers,
Peter and Kerry,
Flipper,
Dr. Dre and Snoop Doggy Dog,
Vainqueur,
John Cale,
Unwound,
Soft Machine,
Siouxsie and the Banshees,
Manfred Mann's Earth Band,
E-Dancer,
The Doors,
The Alarm Clocks,
Mad Mike,
Pole,
Fugazi,
The Dave Clark Five,
The Music Machine,
Tres Demented,
Jesper Dahlbäck,
Inner City,
Scion, Scion, Scion, Scion.
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.