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 Ivory Coast and from Milan.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Delhi and Mexico City.
I'm losing my edge to the art-school Toronto 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 Lewis practice in a loft in Vancouver.
I was working on the marimba 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 Marvin Gaye to the jazz 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 The Alarm Clocks. All the underground hits.
All Aloha Tigers tracks. I heard you have a vinyl of every Janne Schatter record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Ash Ra Tempel 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?
Eli Mardock,
Ultravox,
Public Enemy,
Radio Birdman,
Sister Nancy,
Eric Dolphy,
Goldenarms,
Harpers Bizarre,
Scan 7,
Von Mondo,
Babytalk,
Marmalade,
Cabaret Voltaire,
The Cramps,
KRS-One,
The Invisible,
Jacques Brel,
Matthew Halsall,
Qualms,
Piero Umiliani,
The Last Poets,
Ash Ra Tempel,
Joe Smooth,
Roxy Music,
Laurel Aitken,
AZ,
The Seeds,
Gregory Isaacs,
Skarface,
Negative Approach,
Terror Squad Feat. Camron,
Boredoms,
Brothers Johnson,
Susan Cadogan,
Marvin Gaye,
Howard Jones,
Main Source,
The Sonics,
Drexciya,
Reuben Wilson,
The Standells,
Pete Rock & C.L. Smooth,
Lafayette Afro Rock Band,
Deakin,
Monolake,
Slick Rick,
Bobbi Humphrey,
Sun City Girls,
Danielle Patucci,
Crash Course in Science,
Rosa Yemen,
Jeru the Damaja,
Japan,
Circle Jerks,
Jeff Mills,
Ituana,
The Slackers,
Blake Baxter,
Andrew Ashong & Theo Parrish,
The Black Dice,
Albert Ayler,
Chris Corsano, Chris Corsano, Chris Corsano, Chris Corsano.
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.