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 Guyana and from Columbus.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Mumbai and Toronto.
I'm losing my edge to the art-school Stockholm 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 güiro 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 Marc Almond to the electroclash kids.
I played it at Trash.
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 Man Parrish. All the underground hits.
All Country Joe & The Fish tracks. I heard you have a vinyl of every the Association record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your snare and bought a güiro.
I hear that you and your band have sold your güiro and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mary Jane Girls,
John Coltrane,
Rapeman,
Jimmy McGriff,
Public Enemy,
DeepChord presents Echospace,
Camberwell Now,
Jerry's Kids,
Blancmange,
DJ Sneak,
A Certain Ratio,
Kevin Saunderson,
Moss Icon,
Technova,
Roger Hodgson,
Man Eating Sloth,
PIL,
The Leaves,
Howard Jones,
the Swans,
Gichy Dan,
Heavy D & The Boyz,
Theoretical Girls,
Oneida,
Bob Dylan,
The Remains,
Eden Ahbez,
KRS-One,
Thee Headcoats,
Slave,
The Slits,
Drexciya,
Parry Music,
Schoolly D,
Black Flag,
Graham Central Station,
Dual Sessions,
Sparks,
Skarface,
Archie Shepp,
Kango’s Stein Massive,
Erykah Badu,
Tomorrow,
Jeru the Damaja,
New Age Steppers,
Tubeway Army,
the Slits,
Anthony Braxton,
Todd Terry,
Terrestrial Tones,
Angels of Light & Akron/Family,
James Chance & The Contortions,
The Tremeloes,
Tom Boy,
Suicide,
The American Breed,
Sun Ra,
Oppenheimer Analysis,
Arab on Radar,
Mo-Dettes,
Procol Harum,
Alison Limerick, Alison Limerick, Alison Limerick, Alison Limerick.
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.