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 Paraguay and from Lagos.
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 Tokyo and Johannesburg.
I'm losing my edge to the art-school Portland 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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Skatalites to the jazz 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 Gil Scott-Heron and Jamie xx. All the underground hits.
All Davy DMX tracks. I heard you have a vinyl of every Kerri Chandler record on German import.
I heard that you have a white label of every seminal dance 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 mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ossler,
Con Funk Shun,
Eric Copeland,
Letta Mbulu,
Marcia Griffiths,
The Motions,
X-102,
Amazonics,
Sound Behaviour,
H. Thieme,
Peter and Kerry,
K-Klass,
Ponytail,
The Knickerbockers,
The Men They Couldn't Hang,
U.S. Maple,
Q and Not U,
Yaz,
Agitation Free,
Lou Reed & John Cale,
Ronan,
The Kinks,
Leonard Cohen,
Deadbeat,
Archie Shepp,
Black Sheep,
Lizzy Mercier Descloux,
Anakelly,
kango's stein massive,
Roxy Music,
Inner City,
Jeff Lynne,
Visionaries,LMNO, T- Love & Iriscience,
Minnie Riperton,
Average White Band,
Funky Four + One,
Kerrie Biddell,
Soft Machine,
Davy DMX,
Charles Mingus,
Traffic Nightmare,
Urselle,
Hashim,
Dennis Brown,
Pulsallama,
Depeche Mode,
Popol Vuh,
Circle Jerks,
the Association,
Kerri Chandler,
Brass Construction,
Joy Division,
The West Coast Pop Art Experimental Band,
Parry Music,
Rosa Yemen,
Cluster,
Pantaleimon, Pantaleimon, Pantaleimon, Pantaleimon.
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.