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 Colombia and from Philadelphia.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Portland and Stockholm.
I'm losing my edge to the art-school Woodstock 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 David Bowie 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 These Immortal Souls to the electroclash kids.
I played it at the Hacienda.
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 Brass Construction. All the underground hits.
All Average White Band tracks. I heard you have a vinyl of every The Gladiators record on German import.
I heard that you have a white label of every seminal funk 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 mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Clear Light,
Fear,
Avey Tare's Slasher Flicks,
Grandmaster Flash,
Spoonie Gee,
The Moleskins,
Larry & the Blue Notes,
Magazine,
Peter and Kerry,
Tom Boy,
Rekid,
Isaac Hayes,
Röyhkä ja Rättö ja Lehtisalo,
Darondo,
Sixth Finger,
Lou Reed & Metallica,
The West Coast Pop Art Experimental Band,
Joey Negro,
Kurtis Blow,
Angels of Light & Akron/Family,
John Lydon,
The Monks,
Ronnie Foster,
Lou Reed,
Curtis Mayfield,
Yellowson,
Jerry Gold Smith,
Pet Shop Boys,
Angry Samoans,
Technova,
Television,
Ultra Naté,
The Leaves,
Quadrant,
The Buckinghams,
Donald Byrd,
Louis and Bebe Barron,
Lebanon Hanover,
Barbara Tucker,
Jeff Mills,
Dual Sessions,
The Smiths,
June Days,
Mad Mike,
Kauko Röyhkä ja Narttu,
Zero Boys,
Strawberry Alarm Clock,
The Vogues,
The Cure,
MC5,
Interpol,
Blancmange,
Red Lorry Yellow Lorry,
U.S. Maple,
Moebius,
David McCallum,
The Royal Family And The Poor,
The Fall,
Rotary Connection,
Peter Gordon & Love of Life Orchestra,
Oblivians,
Mary Jane Girls,
Grauzone,
X-101,
Outsiders, Outsiders, Outsiders, Outsiders.
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.