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 Zambia and from Manila.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Halifax and Seoul.
I'm losing my edge to the art-school Mumbai 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 1973 at the first Television practice in a loft in New York.
I was working on the marimba 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 Alphaville to the grunge 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 DJ Sneak. All the underground hits.
All DNA tracks. I heard you have a vinyl of every Albert Ayler record on German import.
I heard that you have a white label of every seminal jazz 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 rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash record.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
EPMD,
Althea and Donna,
Infiniti,
Crooked Eye,
Glenn Branca,
The Names,
The Move,
Saccharine Trust,
Man Eating Sloth,
The Black Dice,
Essential Logic,
Nation of Ulysses,
The Royal Family And The Poor,
Scratch Acid,
Danielle Patucci,
Robert Wyatt,
World's Most,
Ultravox,
Funkadelic,
The Gun Club,
Warsaw,
the Bar-Kays,
Lower 48,
Crispy Ambulance,
The Blackbyrds,
Kauko Röyhkä ja Narttu,
Fela Kuti,
Radio Birdman,
The Fortunes,
Kevin Saunderson,
Ohio Players,
The West Coast Pop Art Experimental Band,
Manfred Mann's Earth Band,
Guru Guru,
Marc Almond,
Charles Mingus,
Warren Ellis,
The Selecter,
Negative Approach,
Neil Young,
Gong,
Matthew Bourne,
R.M.O.,
Davy DMX,
Dorothy Ashby,
Ultra Naté,
Be Bop Deluxe,
Marc Romboy vs. Booka Shade,
Bootsy Collins,
The Vogues,
Harpers Bizarre,
Roxy Music,
Orchestral Manoeuvres in the Dark,
Larry & the Blue Notes,
Cybotron,
June Days,
Chrome,
Wings,
Sarah Menescal,
Juan Atkins,
Deepchord,
The Seeds,
Slave, Slave, Slave, Slave.
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.