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 Poland and from Spokane.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Bologna and Salvador.
I'm losing my edge to the art-school Copenhagen 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the organ 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 Röyhkä ja Rättö ja Lehtisalo to the dance 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 Blossom Toes. All the underground hits.
All DJ Sneak tracks. I heard you have a vinyl of every Nation of Ulysses record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yaz,
Kaleidoscope,
Hardrive,
Kenny Larkin,
Mad Mike,
Piero Umiliani,
The Music Machine,
Ultimate Spinach,
Oppenheimer Analysis,
Crime,
Chris Corsano,
The Index,
Con Funk Shun,
Main Source,
Audionom,
Notorious BIG live in Amsterdam,
Blake Baxter,
Tomorrow,
Deepchord,
The Dave Clark Five,
Half Japanese,
Eve St. Jones,
Monks,
Bauhaus,
Parry Music,
Wire,
Soft Cell,
Ten City,
The Associates,
John Foxx,
Spoonie Gee,
Kings Of Tomorrow,
Andrew Ashong & Theo Parrish,
Todd Rundgren,
Desert Stars,
Blancmange,
The Trojans,
The Chocolate Watch Band,
Thinking Fellers Union Local 282,
Dave Gahan,
Joensuu 1685,
Jeff Lynne,
Flamin' Groovies,
Matthew Bourne,
London Community Gospel Choir,
Deadbeat,
Nation of Ulysses,
Röyhkä ja Rättö ja Lehtisalo,
UT,
Mandrill,
Lou Christie,
Agitation Free,
8 Eyed Spy,
Black Sheep,
Symarip,
Freddie Wadling,
F. McDonald,
The Sound,
Albert Ayler,
Eric Copeland,
Chrome, Chrome, Chrome, Chrome.
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.