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 Iraq and from Stockholm.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Bologna and Accra.
I'm losing my edge to the art-school Sao Paulo 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 Art of Noise practice in a loft in London.
I was working on the clarinet sounds with much patience.
I was there when Tom Verlaine 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 The Dead C to the jazz kids.
I played it at the Crocodile.
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 Gary Puckett & The Union Gap. All the underground hits.
All Mo-Dettes tracks. I heard you have a vinyl of every The Velvet Underground record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your mellotron and bought a 808.
I hear that you and your band have sold your 808 and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tom Boy,
The Evens,
Curtis Mayfield,
Deadbeat,
Angels of Light & Akron/Family,
The Monks,
Roger Hodgson,
Joe Finger,
Dual Sessions,
Vladislav Delay,
The Index,
Marc Romboy vs. Booka Shade,
Khruangbin,
Manfred Mann's Earth Band,
Interpol,
Ronnie Foster,
The Smoke,
Big Daddy Kane,
John Coltrane,
Jacques Brel,
Sunsets and Hearts,
Charles Mingus,
Franke,
Lucky Dragons,
Lebanon Hanover,
Half Japanese,
Wasted Youth,
Audionom,
Pole,
Oppenheimer Analysis,
the Association,
Mantronix,
Bauhaus,
The Music Machine,
Richard Hell and the Voidoids,
Pharoah Sanders,
Cameo,
Johnny Osbourne,
Max Romeo,
Kerrie Biddell,
Maleditus Sound,
Brothers Johnson,
The Doobie Brothers,
Monolake,
Radiohead,
The Human League,
Make Up,
Motorama,
Jesper Dahlback,
Rotary Connection,
Wighnomy Brothers & Robag Wruhme,
Brass Construction,
Dawn Penn,
Notorious BIG live in Amsterdam,
Gichy Dan,
Robert Hood,
Inner City,
Babytalk,
China Crisis,
Nation of Ulysses,
Nirvana,
Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu.
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.