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 Russia and from Paris.
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 1967 to 1972.
I'm losing my edge.
To all the kids in London and Accra.
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 spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Stockholm Monsters to the electroclash 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 The Toasters. All the underground hits.
All Marcia Griffiths tracks. I heard you have a vinyl of every Public Image Ltd. 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 '70s.
I hear you're buying an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Wolf Eyes record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
The Gories,
K-Klass,
Make Up,
Crash Course in Science,
Q and Not U,
Throbbing Gristle,
Model 500,
Pet Shop Boys,
John Cale,
The Wake,
Roy Ayers Ubiquity,
Erasure,
Public Enemy,
the Slits,
The Fortunes,
Deadbeat,
A Flock of Seagulls,
X-Ray Spex,
The Sonics,
Marvin Gaye,
Babytalk,
Massinfluence,
Ossler,
June of 44,
Man Parrish,
Bobbi Humphrey,
Khruangbin,
Reuben Wilson,
Lebanon Hanover,
Lalann,
Television,
Altered Images,
These Immortal Souls,
Eurythmics,
The Martian,
Fatback Band,
Aural Exciters,
Teenage Jesus and the Jerks,
Electric Prunes,
Bad Manners,
Index,
Warren Ellis,
Y Pants,
Lightning Bolt,
The Buckinghams,
kango's stein massive,
Avey Tare's Slasher Flicks,
Kool Moe Dee,
The Standells,
The Leaves,
Erykah Badu,
Matthew Bourne,
Althea and Donna,
H. Thieme,
Terrestrial Tones,
Silicon Teens,
Rhythm & Sound,
Eric B and Rakim,
Roxette,
Yaz,
Faust,
Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith.
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.